“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..
Before women like movie star Melissa McCarthy, Chrissy Metz of NBC’s “This Is Us” and Whitney Thore of TLC’s “My Big Fat Fabulous Life” became widely embraced personalities, Josefina Lopez wrote a play titled “Real Women Have Curves.” Lopez’s 1994 comedy, made into a 2002 movie that marked America Ferrera’s film debut, is about many things. Its subjects include the fears of undocument..
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 ..
Thirty-two playwrights, a half dozen directors, and around ninety plays in less than two hours. This is the South Florida One-Minute Play Festival, now in its fifth year, which runs this weekend. The festival, performed at the Deering Estate in Palmetto Bay and curated by Caitlin Wees and Dominic D’Andrea, has become a phenomenon in its own right. South Florida’s version of the festival i..
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..
Tigertail’s ScreenDance Miami festival is now in its fourth year. One of the few festivals in the country dedicated solely to movement for film and video, ScreenDance aims high. The goal: a festival of top caliber dance films showcasing makers locally and from around the world.
This year’s ScreenDance Miami is directed by local choreographer Pioneer Winter, with the guidance and vision of Tigertail Director and Founder Mary Luft. And as in years past, ScreenDance Miami draws from a partnership with Amsterdam-based Cinedans Dance on Screen Festival. Selections from Cinedans will be shown here in Miami, and Martine Dekker, Cinedans director, will appear as a panelist during one of the three weekend workshops. Screenings are scheduled for Miami Beach Cinematheque, the Pérez Art Museum Miami, and MDC Live Arts Lab.
Having served in years past on ScreenDance Miami’s selection committee and as a participating artist, Winter brings a full range of experience to the upcoming festival. We spoke with him recently about this year’s offerings.
How has the selection process been this year?
It’s been really enjoyable. And I’m looking forward to the line-up that we have for this year. The festival has come so far. We are one of the younger film festivals, especially compared to other festivals that have been around longer or have more money. So for us to be as badass as we are, it’s impressive and exciting.
What has contributed to the raising of the bar for this year’s festival?
This is the first year that we haven’t just accepted the films that Cinedans has given us for opening night. In the past, they’ve been the sole curators. But this year, the curation of opening night is a little bit more collaborative.
Also we added another panelist, Carla Forte, who I deeply respect. Her area is film and movement. This is the first year she has been a panelist, and she definitely was an important voice to have on the panel. Along with Gabri Christa -- Gabri is another amazing filmmaker, very prolific. She’s now on the faculty at Barnard College in New York. She’s going to be co-moderating one of the screenings with Martine Dekker, so I think the addition of other voices that are really experienced in this area has contributed.
What workshops will be offered during the festival?
There are three workshops. The biggie is at the MDC Live Arts Lab with Gabri Christa. That’s going to look at single shot video work—not multiple cameras, not cutting back and forth, but just a single view. Even though it sounds simple, it’s a skill that many don’t use. And it’s something that is very rare. But when it’s done right, it’s absolutely beautiful. We’re so used to over-edited films. But if you can imagine one single shot, one moving camera—one dancing camera—that isn’t skipping around all over the place and is steady with its pan and its zoom, it can be a very powerful technique.
And then back this year is Marlon Hill. He is doing legalities and copyright issues for choreographers and filmmakers, who run into a lot of different questions regarding distribution, music rights and intellectual property. He’s been answering all of those questions. It’s going to be more of a workshop/clinic.
The third workshop is called “Dance Film Abroad,” [lead by] Dekker. She also introduced us to Andrea Baker from Jumping Frames International Dance Video Festival, a dance on film festival in Hong Kong. We got connected with Andrea and I asked her, “hey would you want to do a discussion between you and Martine, because you already have this rapport and you know each other?” They will talk about film abroad, and focus on what’s happening in dance on film in Asia and in the Netherlands.
What’s your intention with the workshops?
To build the local community. We’ve gotten some really strong work locally. But I would like to see more locals applying, and doing professional development and continuing education. With dance on film, we like to say, all you need is a camera. You can experiment, you can try different things. But at the same time there’s a learning curve. And not everybody has the opportunity to go to Amsterdam to see Cinedans or go to Hong Kong to see Jumping Frames. So having those representatives here is really valuable.
What kind of film submissions have you gotten for this fourth year?
Better quality, and more of them, which has allowed us to be more choosy with the selection process. Films that we might have screened in the first year might not be screened now, but I think that’s part of the growing process and that’s one of the reasons I think the professional development is so important, because we want our surrounding artists to grow as we are growing.
ScreenDance Miami 2017 runs Thursday through Saturday, with Opening Night Cinedans films (ScreenTalk follows), Thursday at 7:00 p.m., Pérez Art Museum Miami (PAMM), 1103 Biscayne Blvd., Miami; museum admission $16/$12.
Friday Program I (ScreenTalk follows) at 7:00 p.m., Miami Beach Cinematheque, 1130 Washington Ave., Miami Beach;tickets $9-$11.
Saturday, workshop with Gabri Christa, 10:00 a.m. to 1:00 p.m., MDC Live Arts Lab, 300 NE 2nd Ave., Miami; free.
Saturday, Program II (ScreenTalks follow) at 2:00 p.m., PAMM; museum admission.
Saturday, Program III (ScreenTalk follows) at 7:00 p.m., January 21, MDC Live Arts Lab; $10.
For tickets and information, www.tigertail.org.
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