Rafaela Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..
Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..
The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..
A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..
The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..
Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..
Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..
Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..
Desperate times call for desperate measures. For some, that might mean taking a second or third job. Or robbing a bank. Or moving in with family. For Casey, a straight lip-syncing Elvis impersonator in a Panama City bar, desperation means forsaking the King’s rhinestone-studded jumpsuit for leg hair-hiding pantyhose, fake boobs and big-hair wigs, the better to sell himself as a fa..
Writing about “Broken Snow,” the Ben Andron thriller now getting its world premiere at the J’s Cultural Arts Theatre (JCAT) in North Miami Beach, is a proposition almost as tricky as the play itself. The intricately structured 90-minute drama is loaded with surprises, twists and turns, all revealed at precisely the right moment so that the play builds to its shattering conclusion..
Choreographer Michael Clark's soundscapes aren't the usual -- he uses the music of the punk poets David Bowie and Patti Smith and early 20th century avant-garde French composer Erik Satie. He incorporates Smith's syncopated cadence of "Land," Bowie's dark swan song "Blackstar," and Satie's contemplative and dissident piano rhapsodies. Hot off performances at London's Barbican, where the Michael Clark Company became artistic associate in 2005, he's now been exposed to Miami. Clark says his choreography has been changed for the better because of it.
After a month-long residency on the YoungArts Campus, for the Institute of Contemporary Arts (ICA) interdisciplinary performance initiative "ICA Performs," Clark's time spent will yield five performances from Thursday through Monday with six of his company members dancing inside the YoungArts Jewel Box theater, truly a gem of a space. With its glass mosaic walls and mirrors, the choreographer admits that there's no escaping the architectural inspiration.
"We went literally from doing London to coming straight here," says Clark. "It's a bit of a culture shock initially, but I'm finding it fascinating." For his company to put down roots in another city "is very unusual. We don't usually get to do these kinds of things."
That's the exact type of immersion ICA Performs hopes will happen. "We want to challenge artists to do projects that they wouldn't do anywhere else," says Alex Gartenfeld, deputy director and chief curator of the ICA who was instrumental in bringing Clark to Miami.
"Yes, it was Alex who contacted me to come here," admits Clark. "He told me to visit and take a look and when I saw the Bacardi building, which is amazing, well…" The historical Bacardi building, on Biscayne Boulevard and 21st Street, is home to National Young Arts.
Clark says "three or four" dance pieces will be reflective of Miami. "I'm from Scotland where it's cold and gray and it is so, so opposite here. The birds, the water, the sky and the way [of the] people. Add to that my company being able to be based here for four weeks and being able to work in the space that since day one we'll be performing in, it is an amazing achievement."
In addition to five performances, the company hosted open studio hours and a master class for students and alumni of YoungArts. A dialogue, open to the public, featured Clark, Gartenfeld and YoungArts alumna Brittany Bailey, who danced with Clark's company inside another unconventional space, the Turbine Hall at Tate Modern in London. "When we performed at the Tate Modern, there were people lined up at the door really, really wanting to get in. I wasn't surprised. The dancers were wearing unitards and leather jackets and dancing to the music of David Bowie and Funkadelic. I wanted to share that performance with everyone I had ever met and beyond," she recalls.
Clark promises the signatures he's become so well known for during the performances at the Jewel Box -- the works will be reimagined in some ways from what he's performed in London.
"I come from a classical background, which is all about fairies and swans and princesses,” says Clark. “But that didn't ring true to me. I do what I'm drawn to, but it has brought in a whole new audience to see dance. My art is an organic process, thereby I'm filling my own interests, but it seems to strike a chord with people."
It will be an opportunity for Miami to see, close up, Clark's signature abstracts and experimentation with form, precision and technical rigor, all the while taking cues from myriad forms of contemporary music – a soundtrack that becomes one and the same with the movement. The Jewel Box, he says, creates an "intensity of being so close to the dancers. It is very interesting to me."
Clark says this may be his first time in Miami, but he's certain it won't be his last. "I know new things are going to come from this, which is certainly how it should work."
ICA Performs: Michael Clark in the YoungArts Jewel Box on the campus of the National YoungArts Foundation, 2100 Biscayne Blvd., Miami. 7:30 p.m., Thursday through Monday, Nov. 21. Tickets $15; www.icamiami.org/ica-performs.
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