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Writing about “Broken Snow,” the Ben Andron thriller now getting its world premiere at the J’s Cultural Arts Theatre (JCAT) in North Miami Beach, is a proposition almost as tricky as the play itself. The intricately structured 90-minute drama is loaded with surprises, twists and turns, all revealed at precisely the right moment so that the play builds to its shattering conclusion..

As this steamy spring melts into a sweltering summer, Actors’ Playhouse is inviting theater lovers to a wedding – a big, fat Jewish-WASP wedding, otherwise known as the Broadway musical “It Shoulda Been You.” Though the show seemingly takes place in the present, the piece by book writer-lyricist Brian Hargrove and composer Barbara Anselmi is an old-fashioned, stereotype-filled throwba..

'Death & Harry Houdini' Makes Another Magical Moment at ArshtDennis Watkins knows how to make an entrance. In the House Theatre of Chicago’s “Death & Harry Houdini,” now back at the Arsht Center’s Carnival Studio Theater five years after it first wowed Miami audiences, Watkins arrives onstage with the help of theater technology unknown in Houdini’s day. Dangling upside dow..

Director Carlos Lechuga’s masterful unspooling of time in his second feature film “Santa y Ándres” constructs a uniquely Cuban mix of tedium and despair, resulting in an emotionally intense experience that sneaks up on the viewer in plain sight. The film opens with the stillness of a landscape painting: the eastern Cuban countryside of 1983 – rugged, lush, and verdant. The statuesque..

Memory – deep-seated, fragile, slippery, mutable – is at the heart of Jordan Harrison’s “Marjorie Prime.” A Pulitzer Prize finalist in 2015, the play is a family tragicomedy given a sci-fi makeover; in other words, this thought-provoking theater piece charts its own, fresh path. Now getting its South Florida premiere as the second professional production from the Main Street Players, ..

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..

May’s “Mujeres” series of strong, multi-faceted, women-focused productions, commissioned for Miami Theater Center’s SandBox space, concludes with Spanish-born dancer-choreographer Carlota Pr..

One could say that Bistoury’s 305 & Havana International Improv Fest, which debuts this Saturday at Miami Theater Center, has been in the works for almost 20 years. In 1999 Cuban-born cho..

The process of creating “Shade,” choreographer Augusto Soledade’s latest full-length work, has been one of remembering and reconfiguring memory to discover new ways of talking about identity ..

Upcoming this week, Tigertail presents choreographer Myriam Gourfink and musician Kasper Toeplitz. Hailing from France, the two will be present for a 3-day residency at Subtropics’ South Beac..

From her home base at 6th Street Dance Studio in Little Havana, longtime Miami dance figure Brigid Baker has been slowly crafting a new performance piece. It’s not conceptual or political like con..

Karen Peterson is the artistic director of Karen Peterson and Dancers, a company that brings professional dancers with and without disabilities together in the same piece of choreography, and..

Revivals are hot on Broadway these days with “CATS”and “Hello, Dolly!“once again gracing the Great White Way. There is a certain nostalgia in taking a second or even third viewing of a belove..

What happens when urban dance style meets classical music? We’ll find out when Brooklyn-based hip-hop dance troupe Decadancetheater takes the stage, backed by Miami’s own experimental classic..

“What does it mean to belong? What does it mean to not want to belong?” These are questions that choreographer Reggie Wilson contemplates in his provocative piece “CITIZEN,“ which makes its M..

A Force of Nature Blows Into Miami for ‘Climakaze’

Photo: Photo : Jodie Hutchinson
Written by: Elizabeth Hanly
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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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