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..
There are few artists who have had the impact in their disciplines that guitarist Paco De Lucía had in flamenco. There is a before-and-after De Lucía in flamenco. He expanded the harmonic vocabulary, incorporated instruments from outside the tradition, and had a curiosity that led him to collaborations with artists as disparate as jazz guitarist John McLaughlin, pianist Chick Corea and Brazilian pop star Djavan. He opened new vistas to flamenco artists.
He also worked with unorthodox ensembles, including for 10 years, until his passing in February 2014, his septet.
This remarkable group has been re-assembled by producer Javier Limón, a long-time friend and collaborator of De Lucía, and will be performing a tribute at the Olympia Theater in downtown Miami this Sunday, presented by the Rhythm Foundation.
Flamenco Legends: The Paco De Lucía Project, features Antonio Sánchez, De Lucía’s nephew, guitar; Alain Pérez, bass; Israel Suárez “Piraña,” percussion; Antonio Serrano, harmonica; David de Jacoba, vocals; and Farru, dance.
The young Antonio Sánchez learned guitar from his uncles and also the excellent guitarist and composer Jose Manuel Cañizares. He then had his apprenticeship in tablaos and working with dance companies; in 2010, he joined his uncle’s group as second guitar, replacing Niño Josele, a terrific young guitarist who has since become a leading figure in New Flamenco.
Sánchez spoke to Artburst from New York, where the group started its first U.S. tour.
Paco De Lucía was your uncle, but he was also this phenomenal guitarist and larger-than-life figure in flamenco. How was that first time you sat to play with him as a member of his group?
Sánchez: I went from being a nervous wreck to feeling great peace and totally relaxed in a matter of minutes. When I was a little kid — well before I started studying, I was just playing by ear — I would play his records in my room … and play over them. So that day, I arrived, sat next to him and soon I forgot completely about his “persona” and just listened to the guitar. And I had this flashback of that little kid, listening to Paco’s records and playing along and automatically relaxed and just started to follow him — and it was wonderful.
How was Paco De Lucía the uncle different from Paco De Lucía the boss, on stage?
Paco was always the same — on stage, in the street, at home. He was very humble, had a great sense of humor and when we played there was a great complicity between him and us, there were many smiles and winks, a lot of communication without words. It was like a family.
How was the perfomance with the group, very structured?Or loose, with much improvisation?
Loose. Paco was always very anarchic. The sextet had to invent everything from scratch. [The members of this group] we grew up listening to what they did so when we came together we had our homework done. We knew the music and Paco gave us a lot of freedom. … The songs had a basic structure and within that, we improvised. Every day it sounded different -- it was beautiful. That’s what we want to do with this group.
Because you are the guitarist in the group and Paco’s nephew, it would seem you are first among equals. You are, after all, “playing Paco.” How do you deal with that mantle?
You have to stay centered and be prepared. Each one of us has his place. No one is bigger than the next guy. But yes, I have to do a bit more because it’s my responsibility that it all sounds like Paco, and that’s not easy.
Does it feel odd to have the Paco de Lucia group without Paco De Lucía?
For us it is a tribute to a genius, a partner in adventures who we all loved very much and we miss. And we are just giving ourselves the place he gave us: Serrano is a genius of the harmonica; Piraña is the best percussionist in flamenco; Alain is a tremendous musician and so is David, and Farru is a great dancer. Each one of us contributes his part. We are a flamenco-jazz band in which we give ourselves the space to say what we have to say.
Flamenco Legends: The Paco De Lucía Project, Sunday at 7:00 p.m., Olympia Theater, 174 E. Flagler St., Miami; tickets $37, $47 and $57; www.olympiatheater.org ; www.rhythmfoundation.com.
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