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Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..

Branden Jacobs-Jenkins, now 33, was named a MacArthur “genius” grant winner in 2016, the same year his play “Gloria” was chosen as a finalist for the Pulitzer Prize for drama. Earlier, his provocative, stylistically diverse, subversive plays “Appropriate” and “An Octoroon” (the latter was produced by Coral Gables’ Area Stage last fall) each won best new American play Obie Awards. ..

"The Other Mozart" is a suitcase play – one of those shows where a single actress can pack the entire contents that creates the setting – costume, wig, and props, and go anywhere in the world. It is the way Samantha Hoefer will arrive in Miami to present Sylvia Milo's one-woman play about Maria Anna Mozart, the not nearly as famous older sibling of that 18th century rock star Wolfgang Ama..

Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..

Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..

Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..

Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..

“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..

“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..

Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..

Miami City Ballet Premieres With Classic Romantic ‘Giselle’


Photo: Ella Titus, Miami City Ballet dancers in Giselle. Photo © Alberto Oviedo.
Written by: Guillermo Perez
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Carlotta Grisi, the legendary ballerina who originated the role of Giselle in 19th-century Paris, must be smiling down on Lauren Fadeley from dance heaven.Portraying the eponymous heroine of Giselle, the most celebrated French ballet, can well be considered the zenith of any career. And not only did Fadeley get to perform this in 2012, on her first time out as a principal at Pennsylvania Ballet, but now she’s ready to re-conquer the part as a newly-hired soloist at Miami City Ballet.

“This is such an iconic role,” the ballerina says, “it’s both exciting and a little nerve wracking to prove myself in it all over again.”

All its demands included, this providential casting has come as an unexpected blessing for Fadeley. Unlike so many aspiring ballerinas, she had not set her eyes on the special prize early on.“I didn’t grow up with this ballet,” admits Fadeley. “It just wasn’t in my reach.”

Lacking exposure to productions of Giselle in Orlando, her hometown, she went on to train at the School of American Ballet, a greenhouse for the Balanchine style. Work then followed as a corps member at New York City Ballet, where neoclassical abstractions predominate—not exactly a straight shoot for the lead in a historic narrative ballet. Still, there were signs Fadeley might be headed in this direction.

“Without knowing the story behind it, I fell in love with Giselle’s music when I heard it on tape as a girl,” says Fadeley, amused to think of the steps she came up with to Adolphe Adam’s score—sunny and tender, eerie and lush—on the porch of her childhood home.

Moreover, when Fadeley left her position at NYCB to get a degree at Indiana University—an unorthodox move for a ballerina already on a professional tract—she had the good fortune to come in contact with Violette Verdy. This French-born luminary danced for years at NYCB before becoming the first woman to direct the Paris Opera Ballet. Verdy authored Giselle: A Role of a Lifetime, an intimate and all-embracing study whose pages Fadeley learned to treasure.

With a libretto partially inspired by a passage from Heinrich Heine referencing the Wilis, a band of spectral maidens who, decked out in wedding white, dance hapless men to death, Giselle calls upon the lead to deal out conduct from the earthy to the supernatural. She must adorn rusticity in the first-act village scenes, perfumed by her love for the duplicitous Albrecht, and then take wing in the second act’s haunted forest as a reluctant Wili, ethereal yet resolute in shielding her remorseful deceiver from doom.

“Verdy showed there are so many elements in this ballet. Every time you do it, you go on a different ride,” Fadeley says.

The choreography in Giselle, by Jules Perrot and Jean Coralli, contains many stirring passages, but few pack as much force as Giselle’s pre-death mad scene—comparable to Ophelia’s in Hamlet—after she finds out Albrecht is betrothed to a noblewoman. “Of course, there are choreographic guidelines for this,” Fadeley explains about Giselle’s circling, lunging, and swooning, “but dancers bring differences to it. You really have to be in the moment for it to look authentic.”

Each dancer rehearsing Giselle—a group that interestingly cuts across ranks, from principal to soloist, at MCB —will no doubt put her own stamp on the role. But all had a chance to profit from the insights offered by Evelyn Hart, once a superlative Giselle at the Royal Winnipeg Ballet, who coached the casts in intensive sessions.

“She’s amazing—what an artist!” enthuses principal Tricia Albertson, another lead in the lineup. While experienced in previous productions of Giselle at MCB (the company’s first was in 2002, staged by then ballet mistress Eve Lawson and principal Eric Quilleré), Albertson appreciates her new gains from Hart’s capacity to convey thoughts behind actions in the ballet, which enhance the dramatic context. “She brings in so many sides, it renews the narrative. This really helped me explore the character.”

Those preparatory sessions also enriched Jovani Furlan’s approach to Albrecht. The soloist has a shorter resumé than Fadeley and Albertson, but he certainly has no shortage of passion and industry. About his first-time match-up with Fadeley, he says, “We really clicked! She’s such an expressive dancer, it makes it easier to read her body. There’s an on-going dialog in our heads that lets the ballet speak.”

In his initiation as the male lead in MCB’s Giselle, Furlan found that Hart’s pointers allowed him to shape a more profound characterization.

“Albrecht grew up in a rigid life among royalty,” Furlan reflects, “and Giselle, pure and naïve, takes him on a different journey.” The dancer recognizes the nobleman in disguise may be played as irresponsible and self-indulgent, but he prefers a more sympathetic take. “He doesn’t really want to bring harm. And love can make you do such crazy things! Sure, there’s pain and guilt, but … since Giselle saves Albrecht, he’s been forgiven and can live to become a better man.”

Going through the crucible of a scary night in the woods not only transforms the character but—with all its technical requirements—also the dancer. As Furlan has seen, “Keeping up my stamina is a big part of this.” At the end, he admits, he hardly has to pretend he’s nearly danced to complete exhaustion.

Fadeley, too, comes away from the ballet feeling the impact of its final scenes. Their intensity can be draining, and she must find the calm that performance craft brings in an emotional whirlwind. “You really get into the zone,” says Fadeley—and sums up the ballet’s transcendent quality with a simple phrase: “It’s so beautiful.”

‘Giselle’ runs Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Arsht Center for Performing Arts, 1300 Biscayne Blvd., Miami; tickets $20-$99. It moves to Broward Center for the Performing Arts, Nov. 5-6; www.miamicityballter.org.

 



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