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“Baño de Luna,” written and directed by Pulitzer-prize-winning playwright Nilo Cruz and presented by Arca Images and the Miami-Dade County Auditorium, marks the debut of the Spanish-language version of “Bathing in Moonlight,” the original English production that debuted at the prestigious McCarter Theatre Center in Princeton, N.J., in 2016. Performed by a stellar cast in Spanish..

Rafael Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..

Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..

The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..

A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..

The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..

Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..

Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..

Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..

Desperate times call for desperate measures. For some, that might mean taking a second or third job. Or robbing a bank. Or moving in with family. For Casey, a straight lip-syncing Elvis impersonator in a Panama City bar, desperation means forsaking the King’s rhinestone-studded jumpsuit for leg hair-hiding pantyhose, fake boobs and big-hair wigs, the better to sell himself as a fa..

‘Pie Solo’ Takes Worthwhile Risks


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In “Pie Solo,” created and performed by Pioneer Winter, the Miami-native taps his way into new creative territory. Running about an hour, Winter’s first solo piece integrates contemporary movement, tap dance and video; however, the centerpiece of the show is his monologue. It’s a risky choice, considering the dancer/choreographer has never before utilized his voice in a performance. “Pie Solo” is part of Miami Theater Center’s Sandbox Series, designed to help contemporary artists create new work. The show runs through March at MTC in Miami Shores. Winter’s monologue raises issues about family and religion, but the piece primarily weaves a narrative that explores Winter’s identity as a gay man. Portraying himself, Winter delivers his text in a frank, sincere tone. He neither falls on his sword, nor does he hide from the audience. At times though, he loses momentum as he struggles to pace breath, vocalization and movement. One of the unique aspects of the performance is the integration of tap dance. The 25-year-old began taking lessons when he was four. In one of the show’s most powerful scenes, Winter stands in a makeshift bathroom stall with a small video of an anonymous pair of shoes on display in the next stall. In conjunction with the video, Winter taps out a darkly humorous depiction of two strangers having sex in a public bathroom. The coordination between live tap and the dancing on the video is riveting. This is a moment where Winter’s tap dancing skills transcend performance and create a rich metaphor. Another such moment occurs in an anecdote about his grandfather’s death. He explains that in ceremonious moments, his father would always say, “Tap dance, son.” In this poignant, yet funny segment, Winter recalls tap dancing furiously on the dock of a lake to placate his grieving father while his grandfather’s ashes blew in his face. This is a moment where the performer’s refrain: “I only want to please” fits perfectly. Often, though, it feels like a throw away line. I would like to see Winter organize the show around a powerful metaphor such as tap dance, or as he mentions at one point, the celebration of the first quarter of his life. The show needs organizing principles that will allow for a broader scope of material. For example, he introduces some intriguing tidbits about religion and family that go undeveloped. Winter’s mother, who also tap danced, died when he was nine years old. His family, of Russian-Jewish descent, converted to Jehovah’s Witnesses. There’s also room to tighten some scenes. For example, an interactive scene where Winter gives an audience member a foot rub and “blow job” (by playing a saxophone between the man’s legs) is very humorous and serves as an effective transition to Winter’s coming out story; however, it goes on too long. “Pie Solo” has some challenges to work out; however, Pioneer Winter’s charismatic presence and the show’s moments of clarity and humor make for an interesting performance. A version of this review first appeared in the Miami Herald, March 19. "Pie Solo" by Pioneer Winter runs through March 30 at the Miami Theater Center, 9806 NE 2nd Ave., Miami Shores; at 8:00 p.m. Friday and Saturdays; cost is $20; info: 305-751-9550, www.mtcmiami.org Photo credit: Javi Geovanni
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