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“Carousel,” which contains some of the most gorgeous and memorable songs ever written for a musical, may be a musical you’ve never seen, though it has been around since 1945. The follow-up to “Oklahoma!,” Richard Rodgers and Oscar Hammerstein II’s hugely successful debut as a composer-lyricist team, “Carousel” requires a huge cast by today’s standards, an orchestra that can do that gl..

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Stephen Adly Guirgis won the 2015 Pulitzer Prize for drama for his darkly comic “Between Riverside and Crazy.” Two years later, as GableStage’s sizzling new production so abundantly demonstrates, the play feels completely of the moment – in part because its characters traffic in “alternative facts.” Retired New York cop Walter “Pops” Washington (Leo Finnie) refuses to settle an eight-..

Neo-Impressionist Georges Seurat was an influential visionary whose pointillist work launched a movement before his untimely death in Paris in 1891 at the age of 31. He spent two years painting his masterpiece, “A Sunday Afternoon on the Island of La Grande Jatte,” in which tiny dots of juxtaposed color viewed at the right distance transform into a host of Parisians relaxing on an island ..

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Mention the Harlem Renaissance, and those who know their history would be able to tell you a little or a lot about that vibrant period in New York’s black social and cultural life. But bring up the New York Renaissance – also known as the Renaissance Big Five or the Rens – and you’d be likely to stump anyone who isn’t steeped in basketball lore. Playwright and director Layon Gray ..

Listen up, humanity. God has a bone (or 10) to pick with us, and we’d best pay attention. I mean, if he can zap the wing off an argumentative archangel – and he can – just imagine what’s in store for us. Or simply consider the news, post-election. David Javerbaum, the Emmy Award-winning executive producer and head writer of Comedy Central’s much-missed “The Daily Show with Jon Ste..

I saw Lorca en un vestido verde, the Spanish-language version of Nilo Cruz’s play Lorca in a Green Dress eight years ago on a cramped stage in Little Havana’s Teatro Ocho, where Rolando Moreno took on the task of directing four actors who play eight roles. Even with the limitations of the production, Cruz’s inventive and lyrical script made Lorca one of my favorites from the Pulitzer Priz..

Kleber Mendonça Filho’s Aquarius (2016) is a masterful and engaging film exploring the dilemma of a singularly strong-willed, exceedingly attractive older woman who refuses to budge when power comes knocking at her door and tries to blow it off its hinges. A relative newbie to the director’s chair, Mendonça is a former film critic who layers a rich texture of skillfully developed metaphor..

The words that South Florida playwright Michael McKeever has chosen for his intense new play ‘After’ are powerful indeed. They would have to be, since his Zoetic Stage world premiere at Miami’s Arsht Center is a devastating piece about bullying, school violence and the moment when one horrific act destroys two families. But just as powerful as the words in “After” are the silences, as..

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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