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 ..
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.
Ira Sullivan has been a musician for a long time. His father, part of a large musical family, was in the restaurant business. But he played trumpet for fun and stored his horn behind the couch, Su..
The music of Thelonious Monk has been a source of endless fascination and with good reason. Monk’s universe has its own laws. Beautifully constructed and quirky, soulful but also paced by br..
The first time the Amernet performed “The Seven Last Words of Christ” during Holy Week – the week leading up to Easter -- the string quartet played in darkness. Just hours before, cellist Jas..
Drummer Dafnis Prieto and pianist Omar Sosa closed this year’s Global Cuba Fest at the Light Box in Wynwood, Miami, with shows on Friday and Saturday, March 16-17 that suggested a sort of mus..
Mention flamenco and the immediate associations are with dancing, singing and the guitar. The piano has a rather tentative history in flamenco. While some scholars include the instrument in p..
The ancient Japanese art of Taiko drumming comes to Miami this Friday, with Tao: Drum Heart, which premiered at the Edinburgh Festival Fringe and has gone on to tour internationally, getting ..
It’s not by chance that the music of Cuban drummer, composer, educator and bandleader Dafnis Prieto unfolds with such purpose. An accidental immigrant in 1999 — he was living with ..
In the music of Las Cafeteras and Orkesta Mendoza, presented by Fundarte at the South Miami-Dade Cultural Arts Center Saturday, the border is no place for walls but rather, a moveable feast. ..
Performance Hall at New World Center was packed Saturday, Feb. 3 for the New Work program, which NWS conductor and artistic director Michael Tilson Thomas introduced as “one of the more adve..
"Nosotros sentimos, y pensamos que Jennifer y Carlos sienten igual, que Miami finalmente ha llegado a posicionarse como una verdadera ciudad cultural donde continuamente se presentan compañías imp..
El grupo de danza contemporánea Brazzdance dirigido por su fundador, el coreógrafo Augusto Soledade, se presentó el sábado 31 de marzo en el Carnival Studio Theatre del Arsht Center de Miami...
La undécima edición del Flamenco Festival que se desarrolló del jueves 8 al domingo 11 de marzo en el Arsht Center resultó ser un hermoso reencuentro con el Ballet Nacional de España (BNE), u..
Arts Ballet Theatre of Florida (ABTF) y su escuela de ballet adjunta, ambas bajo la dirección de Vladimir Issaev, se encuentran por estos días entregadas de lleno a la celebración del bicente..
El lugar privilegiado que ocupa Miami hoy en día en el mundo de la danza no tiene discusión. Además de contar con una vibrante oferta local de proyección internacional que dura todo el año y ..
Después de una serie de actuaciones muy exitosas en varias ciudades del Este del país, Alvin Ailey American Dance Theater (AAADT) llega a Miami para ofrecer seis presentaciones del jueves 22 ..
La ofensiva espontánea protagonizada por BalletBoyz y Cie. Herve Koubi el fin de semana pasado en teatros de Fort Laudedarle y Miami, con dos propuestas artísticas absolutamente fuera de seri..
La atracción principal del tercer programa de la temporada 2017-2018 del Miami City Ballet (MCB) que se presentó el fin de semana pasado en el Arsht Center fue el estreno mundial de One Line ..
Llegados en vuelo directo desde Inglaterra, BalletBoyz (Premio Nacional de Danza 2013 a la Mejor Compañía Independiente) ofrecerá el sábado 10 de febrero una función patrocinada por Culture Shock ..