The Source for Media Coverage of The Arts in Miami.
Articles, reviews, previews and features on dance and music performances and events.
Sign Up
No one logged in. Log in

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’s Closing Program: A Swanky Night on the Town


Photo: Patricia Delgado and Renan Cerdeiro; photo © Daniel Azoulay.
Written by: Guillermo Perez
Article Rating

Miami City Ballet will conclude its season this week with a rich selection of repertory pieces: two from Balanchine, in very expressive but distinct modes, and one from modern-dance master Paul Taylor at his genial best. While company premieres this year have upped expectations and trumpeted growth, the current program reconfirms the quality of the company’s long-held artistic assets.

Balanchine, of course, remains the brightest sun in the MCB universe. But from early on this company has also gravitated toward contemporary choreographers, especially warming up to Taylor. Friendly to the stride of ballet, his Arden Court lets these Balanchine-centered dancers make their own spin on the material dazzling.

“This is my first time dancing Arden Court. The music is gorgeous, and you must move very fast to it,” says corps member Andrei Chagas, among the six men—accompanied by three women—who ride this winged creation at a gallop, to sections of symphonies by 18th-century English composer, William Boyce.

Chagas found a bridge to his work through a previous casting in Mercuric Tidings, another lofty Taylor choreography. “The presentation is very squared off,” explains Chagas, “and the pull downward defines it.”

Mornings after dancing this piece he’s felt the difference in his muscles, needing to shake off the tightness in his calves. “The use of the quads, too—relying on their strength—shows the roots of this movement are in the ground,” he says. Yet he must also find impulse for flying leaps, which “makes things more complicated!”

Observing his fellow dancers in action has additionally helped Chagas. “As a viewer I’ve better understood this as a comic ballet,” he discloses. “It’s very joyful, and in all its elegance there are jokes.”

From the Balanchine trove of tutu-and-tiara delights this program also brings Divertimento No. 15, which manages to be both rare and exemplary. The Russian-born master often made dances to scores by his countrymen, but in this case he relied on Mozart to propel a musical genre identified with amusement into the realm of exaltation. Somewhat abbreviating the score for strings and horns, the choreographer relayed its ebullient spirit—not without reflective passages—to uphold ballet’s noblest qualities: graciousness, sophistication, and verve.

Patricia Delgado, a ballerina who sparkles through skill and personality, will be dancing the fourth variation in Divertimento, and—especially suited to her talent for allegro—this provides a fitting way for her to bid farewell to MCB after a 16-year career, as she will be retiring. “This is right up there among my favorite ballets and has a special place for me since I did its first variation when I was very young,” says Delgado. “I feel the part I’m doing calls for more maturity, which I can bring to it now.”

The distilled classicism of the work speaks to Delgado, who points out, “it’s technically hard. The turns at the end come when you’re already tired. They have a little twist, and you have to keep the rhythm while the music speeds up. But this is also witty and full of charm. Such a gem!”

Her variation, moreover, carries a bit of history that adds to its significance. As Delgado explains, in 1956 Balanchine choreographed it for his wife Tanaquil Le Clercq—a supreme interpreter who not much later contracted polio, making an abrupt end to performing, at the age of 26. “Balanchine poured lots of love into this dance,” Delgado says. “I can really relate to the sensuousness of it.”

The ballet’s unusual structure, with five principal ballerinas attended by three men, backed up by an eight-woman corps, also allows Delgado to mark this special occasion alongside a wide representation of her artistic family. “I’m happy I get to take the stage with so many of my best friends,” she says.

And that kind of amiability will continue on the dates Delgado dances in Balanchine’s Who Cares? To a suite of orchestrated George Gershwin songs, couples here come and go, soloists swing through, and spirited groups share the fun—all like jazzy pilgrims on a swanky night out on the town. This builds layer upon airy layer of playfulness and romance. But, no mere puff pastry, the dancing fortifies the heart.

“It was the first ballet I performed as a company member,” recalls Delgado, who by now has gained enough experience—in life as in art—to fully embody the devilish wit of “Fascinatin’ Rhythm” and the entrancement of “The Man I Love.” That latter selection especially excites her at this juncture.

“I’ve been listening to Ella Fitzgerald,” says Delgado. “Her singing has let me go deeper into the emotion, and I can relate it to my feelings for Justin.” That’s New York City Ballet resident choreographer Justin Peck, her romantic partner, whom she’s about to join full time in the Big Apple.

Yet Delgado reveals she wants her dancing in Who Cares? to be a double valentine, in further appreciation of another man: her dance partner Renan Cerdeiro. It’s collaborations such as theirs that have made the long list of pas de deux in Delgado’s glowing résumé so memorable.

Miami City Ballet’s season finale performances, Friday and Saturday at 8:00 p.m., Sunday matinee at 2:00 p.m.; Arsht Center for the Performing Arts, 1300 Biscayne Blvd.; tickets $20 to$85; performances continue the following week at the Broward Center for the Performing Arts; www.miamicityballet.org.

 


Leave a comment...
Must be Logged in
No one logged in. Log in
Leave a comment...
Was this helpful?
No Very

Captcha Image

About The writer

Ira Sullivan has been a musician for a long time. His father, part of a large musical family, was in the restaurant business. But he played trumpet for fun and stored his horn behind the couch, Su..

The music of Thelonious Monk has been a source of endless fascination and with good reason. Monk’s universe has its own laws. Beautifully constructed and quirky, soulful but also paced by br..

The first time the Amernet performed “The Seven Last Words of Christ” during Holy Week – the week leading up to Easter -- the string quartet played in darkness. Just hours before, cellist Jas..

Drummer Dafnis Prieto and pianist Omar Sosa closed this year’s Global Cuba Fest at the Light Box in Wynwood, Miami, with shows on Friday and Saturday, March 16-17 that suggested a sort of mus..

Mention flamenco and the immediate associations are with dancing, singing and the guitar. The piano has a rather tentative history in flamenco. While some scholars include the instrument in p..

The ancient Japanese art of Taiko drumming comes to Miami this Friday, with Tao: Drum Heart, which premiered at the Edinburgh Festival Fringe and has gone on to tour internationally, getting ..

It’s not by chance that the music of Cuban drummer, composer, educator and bandleader Dafnis Prieto unfolds with such purpose. An accidental immigrant in 1999 — he was living with ..

In the music of Las Cafeteras and Orkesta Mendoza, presented by Fundarte at the South Miami-Dade Cultural Arts Center Saturday, the border is no place for walls but rather, a moveable feast. ..

Performance Hall at New World Center was packed Saturday, Feb. 3 for the New Work program, which NWS conductor and artistic director Michael Tilson Thomas introduced as “one of the more adve..

"Nosotros sentimos, y pensamos que Jennifer y Carlos sienten igual, que Miami finalmente ha llegado a posicionarse como una verdadera ciudad cultural donde continuamente se presentan compañías imp..

El grupo de danza contemporánea Brazzdance dirigido por su fundador, el coreógrafo Augusto Soledade, se presentó el sábado 31 de marzo en el Carnival Studio Theatre del Arsht Center de Miami...

La undécima edición del Flamenco Festival que se desarrolló del jueves 8 al domingo 11 de marzo en el Arsht Center resultó ser un hermoso reencuentro con el Ballet Nacional de España (BNE), u..

Arts Ballet Theatre of Florida (ABTF) y su escuela de ballet adjunta, ambas bajo la dirección de Vladimir Issaev, se encuentran por estos días entregadas de lleno a la celebración del bicente..

El lugar privilegiado que ocupa Miami hoy en día en el mundo de la danza no tiene discusión. Además de contar con una vibrante oferta local de proyección internacional que dura todo el año y ..

Después de una serie de actuaciones muy exitosas en varias ciudades del Este del país, Alvin Ailey American Dance Theater (AAADT) llega a Miami para ofrecer seis presentaciones del jueves 22 ..

La ofensiva espontánea protagonizada por BalletBoyz y Cie. Herve Koubi el fin de semana pasado en teatros de Fort Laudedarle y Miami, con dos propuestas artísticas absolutamente fuera de seri..

La atracción principal del tercer programa de la temporada 2017-2018 del Miami City Ballet (MCB) que se presentó el fin de semana pasado en el Arsht Center fue el estreno mundial de One Line ..

Llegados en vuelo directo desde Inglaterra, BalletBoyz (Premio Nacional de Danza 2013 a la Mejor Compañía Independiente) ofrecerá el sábado 10 de febrero una función patrocinada por Culture Shock ..