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Steven Levenson’s “If I Forget” began its Off-Broadway run a year ago, closing just six weeks before the now 33-year-old playwright won the Tony Award for writing the book of the acclaimed musical “Dear Evan Hansen.” Cut to February 2018, and South Florida already has its own exquisite production of “If I Forget,” thanks to GableStage artistic director Joseph Adler. Levenson’s fun..

In a career that continues to soar two decades after his first play was produced, Michael McKeever has premiered his dramas, comedies and short plays at theaters all over South Florida. Nearly always, he’s involved in those productions as the author, sometimes as an actor, at times as a set designer. The plays get their start here, then go on to productions (sometimes multiple product..

When M. John Richard decided to leave the New Jersey Performing Arts Center in late 2008 to become president and chief executive officer of Miami’s Adrienne Arsht Center for the Performing Arts, he arrived in South Florida with a vision, myriad ideas and a long-term exit strategy. “I knew in 2008 that I had a 10-year run in my tank,” says Richard, 65, who plans to retire from his Arsh..

Friendships can bring seemingly unlike people together to sometime form a strong bond. Such is the case in Walter Dean Myers’ coming of age novel, Darius & Twig. According to the summary notes of the book “Two best friends, a writer and a runner, deal with bullies, family issues, social pressures, and their quest for success coming out of Harlem.” It’s a tale of endurance, perseverance, an..

Kristoffer Diaz’s searing, hilarious and all-too-resonant play “The Elaborate Entrance of Chad Deity” isn’t new to South Florida. The 2009 script, a finalist for the Pulitzer Prize for Drama, made its area debut in 2012 in a fierce and fine production at Boca Raton’s Caldwell Theatre Company just a few months before the long-running regional powerhouse folded. Now “Chad Deity” has ret..

“This is no camera, nothing cut. This is real," says Tranee Wallace, whose story is one of three live radio plays in Dan Froot and Company's "Pang!" at Miami Light Project's Light Box at the Goldman Warehouse. Hers is one of a triptych of oral histories adapted into plays of families facing adversity: A Los Angeles single mom who loses the home she and her nine children live in after..

When it comes to farces, Michael Frayn’s “Noises Off” is one of the great ones. The 1982 comedy has made it to Broadway three times, and American audiences all over the country have embraced it in countless regional productions. Actors’ Playhouse is having a go at “Noises Off” as the second show of its 30th anniversary season. The play fits like a period glove on the main stage at the..

The intricate alchemy of inspired theatrical art is on full display in Zoetic Stage’s darkly hilarious, gripping world premiere of Christopher Demos-Brown’s “Wrongful Death and Other Circus Acts.” Demos-Brown, a rising theatrical star whose play “American Son” will open on Broadway in November, has drawn on his experience as a lawyer working on wrongful death cases to create a savage exami..

My Barbarian wanted to take Miami on a boat ride. “We wanted to interact and be out in the public,” Alex Segade reveals over the phone from Los Angeles, where he just got out of rehearsal for My Barbarian’s first Miami show, coming up this Saturday at the Miami Light Project, as part of Miami-Dade College’s Museum of Art and Design’s “Living Together” performance series this season. ..

The time seems right for Karen Finley to be visiting Miami, to be performing in the black box space of the Miami Light Project at the Goldman Warehouse, and to present her latest performance-art manifesto about the current political landscape, “Unicorn Gratitude Mystery.” In the show, which she began developing as a response to the U.S. presidential election in 2016, Finley plays a unicor..

Peter London Springs to Light with Choreographic Might


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Written by: Cameron Basden
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Never at a loss for words, artistic director Peter Londondescribes what has compelled him to undertake two powerhouse pieces of music for his newest performance venture of the Peter London Global Dance Company, which will be held at the Adrienne Arsht Center’s Carnival Theater this weekend.

In a sit down interview, London speaks of the music that has been a vital part of his development and, indeed, his DNA that will now be brought to choreographic life as he envisions Igor Stravinsky’s The Rite of Spring and Sergei Rachmaninoff's Concerto #2 in C Minor, Opus 18 for this holiday program.

Few works have been so heralded and critiqued as The Rite of Spring. Choreographers include Martha Graham, Maurice Béjart and the reconstruction of the original Nijinsky choreography by Millicent Hodsen received accolades for their uniqueness and intensity. Taking on the powerful music and riveting story is a daunting task. London cites his encompassing musical training at Juilliard as a major influence in his decision to grapple with Stravinsky’s magnanimous score.

“Stravinsky was the main attraction of the western contemporary form of music. I remember very clearly that once I knew we were studying The Rite of Spring, I could not sit on my chair. When I heard the music, it went straight into my psychological, spiritual system. It reminded me of the Yoruba sounds from Trinidad. I had heard this music since I was a young boy.”

London breaks into a singing chant showing how the folksy West African tonality and rhythms of the Yoruba music could be heard in the difficult Stravinsky score. Inspiring dancers to hear and count the erratic musical phrasing takes a lot of energy. “There are times you think you have it and it’s not it. It is an exhausting journey, not only emotionally, but physically to interpret, envision and to realize this score.”

London has a global vision for his Rite of Spring. “I have taken aspects of various rites throughout the world and put them together. I am using the Yoruba gods and goddesses of nature -- representing lightening, storms, oceans, rivers -- and made them the four goddesses from the corners of the earth and they open the dance.”

When asked if audience members will understand what each god or goddess represents, London says, “We live in a global city, so people in the audience are from all parts of the world. The movement is a cornucopia of ideas and images of what a rite of spring might be, based on these various cultures. Some people may recognize references, but it’s not necessary.”

London remains true to Stravinsky’s ritualistic story, including a sacrifice at the end. He calls the piece Journey because, for him, it is as much about the transition and growth one experiences throughout life as it is about this individual story.

As a fresh contrast to the Stravinsky ferocity, the other monster of music London is drawn to for this program is Rachmaninoff's Concerto #2 in C Minor, Opus 18. Going back to Juilliard, London says that his roommate, a music student, played and studied this particular piece of music throughout a period of two years.Lying in bed at night, London would hear the music over and over and, with his eyes closed, would see lights and colors, never knowing that, one day, these random visions would culminate in a ballet.

This Rachmaninoff piece, entitled Light, was a collaborative effort of choreography by London’s former students and PLGD dancers, who are now dancing in professional companies. London speaks highly of Justin Rapaport who did much of the choreography and is now in Ballet BC in Vancouver, Canada. Rapaport did the final rehearsals by skype, a new use of technology.

“What Justin has done is so textured and rich for such a young man,” London says.“To create with such a level of simplicity, I think is the hardest thing to do.

“In this piece,” London adds, “I wanted the audience to be able to participate without being forced to do it. To sit back and let the music carry them, to let the light carry them.”

No holiday would be complete without a surprise and London’s up-coming performances will be no different -- it will include the reveal of a fun and secret new piece that will speak to everyone.

Peter London Global Dance Company performs Friday and Saturday at7:30 p.m., and Sunday at 4:00 p.m.; Arsht Center Carnival Studio Theater, 1300 Biscayne Blvd. Miami; tickets $40, $20 student, arshtcenter.org or call 305-949-6722.

 


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