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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 ..

Dimensions Dance Theatre of Miami has been on a trajectory best described as meteoric. In its first 18 months DDTM has been a 2017 Knight Challenge Grant recipient and now will debut at New Y..

Amirah Sackett came up as a dancer in Chicago’s hip hop scene at a time when women were rare in the mostly male community. But she also visibly stood out as a Muslim. She keeps her hair cover..

Inside the Little Haiti Cultural Complex, where Dance Now! Miami is in residence, there is a hub of activity as the company prepares for its performance on Saturday night of Contemporanea 201..

One of the signatures of the National Water Dance project since its inception seven years ago was that dance troupes, large or small, professional or school groups, were free to perform whate..

Miami City Ballet is in league with Russians – in a good way -- and this promises to make a selection of dances look great again. The company’s final program this season brings back Apollo an..

Hidden behind a busy street in North Miami Beach is the Ancient Spanish Monastery, where Dance Now! Miami will bring the past into the present – and back into the past. Ekphrasis describes th..

Sometimes dance seems as easy as walking down the street. John Heginbotham, founder and artistic director of Dance Heginbotham, describes his dancers as moving in an unaffected, natural manne..

On the heels of a year-plus parade of #MeToo confessions, celebrity shamings and women’s marches, comes Marisa Alma Nick’s female-power-packed “A Rebel in Venus.” “It wasn’t planned that ..

Choreographers are usually curious people. Augusto Soledade’s curiosity leads him in many directions, including ideas on Madonna, voguing, and selfies. It all began with “thoughts on identity..

A Force of Nature Blows Into Miami for ‘Climakaze’

Photo: Photo : Jodie Hutchinson
Written by: Elizabeth Hanly
Article Rating

Critics on five continents have described her work as “indecent and breathtaking,” or some close variant. One blessed her for always “going too far.” Another stated he would prefer death to missing one of her performances. They are talking of Moira Finucane, designated a “National Treasure” in her native Australia.

She will perform in a one woman show entitled “Rapture” as the opening event at this weekend’s three-day Climakaze extravaganza produced by Elizabeth Doud in conjunction with FUNDarte and the Miami-Dade County Auditorium.

“Imagine,” Finucane begins as she describes what her audience may expect. “Imagine you are at Versailles in the Hall of Mirrors and the mirrors crash and become water, a sea of water, and then there are icebergs, but suddenly you are in a dark forest and in the company of a bitter woman who’s looking there for her husband. But then she begins a rant, a ridiculous no-sense song about structural oppression. Ah, but soon the woman begins to waltz, and you waltz too for she has invited you, her audience, to waltz with her.”

All this, by the way, is set to music, which at times is reminiscent of medieval baroque, at times cutting edge industrial and in both cases the work of leading Australian composers.

Suffice it to say, this is experiential work seeking new ways to tell stories.

By its very nature, it is also work deeply interested in transformation. Art at its best is, for this performer, nothing less than electricity.

Several years ago, Finucane went literally on a personal odyssey. She intended to develop an “autonomy of hope” and began a project that entailed asking folks in myriad different walks of life, perhaps most tellingly oncologists, how they understood hope. All the comments pointed her back to her early fascination with fairy tales and lives of the saints. “Tiny actions can have epic consequences.”

So it is in the narratives she weaves both on and off stage.

Those individual tiny actions are the ones that allow her to have hope even as she works on a range of social issues that she regards as profoundly interrelated: refugee rights, human trafficking, gender rights, and issues of climate change.

Director and producer Doud understands hope a little differently. As she prepares for this, the third annual Climakaze, she emphasizes the need for the reflection and the grief that must come before new paradigms, new stories can be imagined.

“We look around at our world,” she says, “we look at all issues … but particularly those relating to climate and know we have taken a loss. The Romantic ideal of nature is not coming back. We don’t yet know the quality of what might come, but we need to begin trying telling stories of what may be possible even if those stories are still hard to put into words. We need art to begin to help us imagine.”

And so, as part of her extravaganza, Doud has invited the New York City-based Super-Heroes' Clubhouse to present two days of their trademark interactive Eco-Theater Labs. “Everybody -- local artists and scientists, anybody concerned about issues of climate -- is welcome to participate in these labs. Here again, the idea is both to have a place to give witness to a community’s loss and also a place to allow oneself to dream, and perhaps sense together stories waiting to emerge.

But hang on, there’s still more to the weekend’s line-up.

To bring still more stories of our interrelatedness to light, Doud has asked Miami vocalist and musician Inez Barlatier to take the stage in a Saturday night concert. If author Joan Didion is right when she says “one can understand nothing if one doesn’t understand the rhythm behind it," then Barlatier may be the perfect bookend for the two Climakaze concerts.

The daughter of master drummer and poet Jan Sebon, Barlatier grew up seeped in just about every kind of African diaspora rhythm, as well as those from the Iberian Peninsula and the Near East.

Today she describes her music as taking all this and adding a bit of Shakira and more than a little of Tracey Chapman.

Besides her own band, the Kazoots, she plays with an all women drumming group, Venus Raising, and still manages to find time to instruct area children in the rhythms of their traditions.

“When I think of my Haitian roots,” she says, “I don’t think of the problems. I think of the morning after the revolution, the morning after our apocalypse, when everywhere there was singing. There was nothing anywhere but singing and dancing and joy.”

Climakaze Miami 2017; Friday, May 5at 8:30 p.m., ‘The Rapture’ by Moira Finucane; Saturday, May 6 at 8:30 p.m., Inez Barlatier in Concert; Saturday & Sunday, May 6 & 7 from 10:00 a.m. to 4:00 p.m. Eco-Theater Labs. Mid-Stage at Miami-Dade County Auditorium, 2901 W. Flagler St., Miami; tickets $25 Adults, $40 weekend pass; $20 seniors and students. A limited number of $5 performance tickets will be available for students ages 13-22 through www.cultureshockmiami.com.(Eco-Theater Labs are free of charge.)Tickets at www.ticketmaster.com; 800-745-3000; 305-547-5414; www.climakazemiami.org/program-info/

 


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