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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 ..

Peter London’s ‘Rhythmic Atlantic:’ Celebrating Diverse Cultures for the Holidays


Photo: Photo: Gregory F. Reed
Written by: Diana Dunbar
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It is fitting at this time of the year that our thoughts often turn to what connects us not what divides us. Whether we are driven by religious or secular motives, many of us are in the spirit of the season. Performances of plays, dance and music abound, offering Miami audiences a rich array of choices. “Rhythmic Atlantic,” presented by The Peter London Global Dance Company, is a dynamic program celebrating the contribution of African dance and music on the formation of new artistic forms in the New World. It offers a global connection to usher out the year and welcome the new.
"Rhythmic Atlantic" delivers a rich cornucopia of styles in music and dance: jazz, Latin jazz, salsa and rumba to name a few. Bringing it all together is Peter London, founder and artistic director of the company and professor of dance at New World School of the Arts. London reached out to several former students -- who are now professional dancers and choreographers -- to present pieces on the program. It’s also a homecoming of sorts, as all the invited artists are from
Miami. These guest choreographers are Melissa Fernandez, Ballet Hispanico; Jamar Roberts, Alvin Ailey American Dance Theater; Justin Rapaport, Ballet BC; and Gentry Isaiah George, Zest Collective.
Fernandez’s piece is titled Cuban Sugar; the score is a Latin take of the Sugarplum Fairy from “The Nutcracker.” George’s work, Chariot, is set to music by Inez Matthews and Jessye Norman and is a solo performed by Leon Cobb, a member with the Martha Graham Dance Company.
Both Fernandez and George followed the same path from New World School of the Arts, where each studied with London, then on to the Julliard School. Both Fernandez and George
acknowledged the role London played in their lives as students and young artists. They speak of his generosity of spirit and of giving of himself. Both qualities we associate with the season. For London this generosity is something he is passing on from what was given to him by his teachers and renowned artists such as Martha Graham and Alvin Ailey.
London began dance at an early age in his native Trinidad and Tobago. He studied traditional dances, Modern and ballet. He arrived in the United States at 19 and became a member of the Limon Dance Company, then the Martha Graham Dance Company. London later came to Miami to teach at the New World School of the Arts where he has been a professor of dance for over 20 years. Along with teaching and running his company, he is also a mentor to several dancers including Jamar Roberts -- whose choreography is on the program.
Also on the program is a work by one of London’s current students, Kashia Kancey. Her piece, Everyday is February, is set to the haunting Strange Fruit, first sung by Billy Holiday and later Nina Simone. Kancey is using versions by Jeff Buckley and Jose James.
London is premiering his “Atlantic Journey” (with paintings by Joel Gresham) as not only a way to combine traditional and Modern dance, but also to further the mission of his company “to provide professional work for local dancers so they don’t have to leave to find jobs in other cities.” He wants to bring Miami dancers and choreographers back to share their knowledge. ‘Rhythmic Atlantic’ is all about connections, both onstage and off.
“Rhythmic Atlantic,” Friday, Dec. 29 and Saturday at 7:30 p.m., Sunday at 5:00 p.m.; Arsht Center for the Performing Arts, 1300 Biscayne Blvd. Miami; tickets $40; www.arshtcenter.org, 305-949-6722; PLDDC.ORG.

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