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The stage is a fixed space. It is the axis around which story, conflict, and character revolve. When that fixed space shifts, new possibilities emerge. Starting Wednesday, April 23, a shifting site for theater emerges at Deering Estate, a 444-acre environmental, archeological, and historical preserve along the edge of Biscayne Bay in Palmetto Bay. Four local playwrights have collaborated ..

Nearly two years ago, Miami’s Zoetic Stage took its first trip into the world of Harold Pinter with an intense, superbly acted production of the Nobel laureate’s 1978 hit “Betrayal” in the Arsht Center’s Carnival Studio Theater. Now Zoetic is delving further back into the Pinter canon with a riveting production of “The Caretaker.” This 1960 work is, like “Betrayal,” a three-character ..

Imagine animation created live on stage, with mini backdrops, puppets, and low-tech props. Channel it through multiple cameras and mix it live into a projected film. Add a string quartet and a DJ. This is the structure of “Nufonia Must Fall,” an upcoming project presented by MDC Live Arts. The show is slated for appearances around the world, from Asia and the Middle East to Europe and..

That Actors’ Playhouse opened its production of Robert Schenkkan’s “All the Way” on the same day that the American Health Care Act was pulled from a vote by the House of Representatives is ironic and more than a little instructive. The much-touted replacement for Obamacare didn’t have enough sure votes to ensure passage, as Speaker Paul Ryan told President Donald Trump, so the “replac..

The take-no-prisoners world of high finance and ruthless business deals has long been a tantalizing subject for artists. From filmmaker Oliver Stone’s 1987 “Wall Street,” with its antihero Gordon Gekko spouting “greed is good,” to Damien Lewis’ slick hedge fund mogul Bobby Axelrod in the Showtime series “Billions,” movies and television allow those of us in the 99 percent a glimpse at wha..

Miami’s venerable M Ensemble is a company that sometimes dips into its rich history to mount fresh productions of past shows. For its second production in its versatile new home at the Sandrell Rivers Theater in Liberty City, the troupe is revisiting Darren Canady’s “Brothers of the Dust.” Winner of the 2012 M. Elizabeth Osborn Award from the American Theatre Critics Association, the ..

“El cuento de Rene,” actor and director Larry Villanueva’s adaptation of Cuban writer Rene Ariza’s short stories into a work of theater, is more than an homage. It’s a statement on oppression. Ariza was sentenced to eight years in prison for trying to send manuscripts abroad. He was banned from creating theater in Cuba and condemned as “counter-revolutionary.” Ariza served five years of h..

Those who attend film festivals aren't looking for the mainstream, Cineplex offerings. That isn't the goal. Amid the indie films, the foreign entries, documentaries, and the world premieres, there's another reason to canvass the program for something you might not see anywhere else. Given the Miami Film Festival is the only major film festival to be produced by a college or university..

{This interview was conducted before the film making team went on to amazing Oscar success.} Playwright Tarell Alvin McCraney and filmmaker Barry Jenkins are nine miles away from the Liberty City housing projects where they both grew up, but they are worlds away. They are at the picturesque Standard Hotel to talk about the new movie "Moonlight," with a screenplay by Jenkins base..

First things first. Actor-playwright Elena María García does explain the meaning of “¡FUÁCATA!” somewhere deep into the 90-minute running time of Zoetic Stage’s “García Or a Latina’s Guide to Surviving the Universe.” The familiar Cuban term, she confides from her perch on Michael McKeever’s Mondrian-evocative set, suggests the sound of a slap. As in, “¡Fuácata! You really stepped in i..

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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