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..
Celebrated Zimbabwe-born, Brooklyn-based dancer/choreographer Nora Chipaumire returns to Miami for a third time with her latest work, Portrait of Myself as My
Presented this week by MDC Live Arts and Miami Light Project at The Light Box at Goldman’s Warehouse, Chipaumire veers from her study of African
female identity to explore masculinity in a piece that started as a letter to the father she never knew, one lost to divorce when she was 5, and
to death when she was 13.
“I was interested in how I could create the kind of father that I would have liked to have,” Chipaumire says. “He’d be a superhero who’d be super cool: cooler than Shaft, cooler than Isaac Hayes, cooler than Muhammad Ali, a combination of all the heroes that I believe in, the African James Bond. I tried to create a portrait of my father that was a combination of virtuosic men.”
Chipaumire began studying masculinity through sport, and ended up focusing on the notion of boxing as a metaphor. Throughout the show, she performs tethered toSenegalese dancer Pape Ibrahima Ndiaye. Together, the pair prowl the stage-cum-boxing ring, the delineation between playing space and audiences marked by ropes and lights. A third performer, Shamar Watt, dressed in both coattails and athletic wear, shadows the pair. Chipamuire’s supple frame is bulked up thanks to football pads, and hidden beneath low slung, baggy pants, which stand in contrast to the briefs that adorn Ndiaye, his body and masculinity on full display.
To understand the physical manifestation of masculinity, she spent time watching the way men moved during residencies in Senegal and the Ivory Coast. “I was collecting a database of how these young men were getting down with their bodies, and the precision they moved with. I realized there is a very specific way that men are dancing – it’s very urban, fresh and full of virtuosity, and braggadocio in the face of so many difficulties, and I was trying to embody that, and do it my way,” she explains.
“It became more about the psychological placement, and placement of sounds in my body, how I operate in the world.”
Not just a study of gender, the piece also explores the dichotomy between blackness and Africanness. “Black and African are two separate ideas that I constantly work with, and wanted to understand better how they differ and the ways they intersect. I’m Black, but I’m also African,” says Chipaumire. “Black American men are much more overt, the stereotypical mans’ man, the swag that’s in your face. The African man is less so, it’s much more sexy and elegant, but nonetheless there is a great deal of machismo that runs through both of them -- but the African tends to couch it a bit, hidden under cultural norms.”
Exploring blackness, especially male blackness, is a particularly potent message in the United States, both historically and presently. While not a part of Chipaumire’s original, more personal motivation for the piece, she’s happy to add to the ongoing dialogue of race.
As she recalls with solemnity, “As I started working on this, Trayvon Martin was killed, and all these other black male shootings started to become an ongoing thing. And now, with Black Lives Matter, it has become part of our daily vocabulary; we have come so far in a short time with the conversation of black males – it’s intense, and I’m very happy to be a part of a conversation that is very necessary and that is difficult.
“There is a responsibility to family,” she adds, “and that’s the African part of me. You are raised in this community that is a family, and there are responsibilities to it, and from them to you, so I’m trying to overlay the landscape of family when I’m in that boxing ring.”
MDC Live Arts and Miami Light Project present Nora Chipaumire ‘Portrait Of Myself As My
Father’, 8:00p.m., October 14-15, The Light Box at Goldman Warehouse, 404 NW 26th St., Miami Tickets: $30, $10 for MDC students mdclivearts.org.
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