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 ..
Steven Levenson’s “If I Forget” began its Off-Broadway run a year ago, closing just six weeks before the now 33-year-old playwright won the Tony Award for writing the book of the acclaimed musical “Dear Evan Hansen.” Cut to February 2018, and South Florida already has its own exquisite production of “If I Forget,” thanks to GableStage artistic director Joseph Adler. Levenson’s fun..
In a career that continues to soar two decades after his first play was produced, Michael McKeever has premiered his dramas, comedies and short plays at theaters all over South Florida. Nearly always, he’s involved in those productions as the author, sometimes as an actor, at times as a set designer. The plays get their start here, then go on to productions (sometimes multiple product..
When M. John Richard decided to leave the New Jersey Performing Arts Center in late 2008 to become president and chief executive officer of Miami’s Adrienne Arsht Center for the Performing Arts, he arrived in South Florida with a vision, myriad ideas and a long-term exit strategy. “I knew in 2008 that I had a 10-year run in my tank,” says Richard, 65, who plans to retire from his Arsh..
For many choreographers, a new project is an opportunity to dig into fresh ideas. But for local choreographer Pioneer Winter, his latest work “Reprise” returns to the same terrain he has been..
There are few shortcuts for anyone hoping to make it in ballet, but for black dancers that road has always been particularly arduous. A lack of access to training, scant rewards, and cultura..
For sheer pageantry, there are few dance companies that can rival the Ballet Nacional de España. In its 40th season, with 40 dancers and 11 musicians, Spain’s effusive, no-holds-barred love l..
When the Alvin Ailey Dance Theater returns to town this week, Miami native son Jamar Roberts will take center stage. As one of the company’s star dancers, he has long shined as a performer. B..
He says his dance comes from his dreams. French-Algerian choreographer Hervé Koubi’s most recent work, “What the Day Owes the Night” combines Sufi rhythms with cutting edge b-boy moves, class..
A world premiere always comes with a drum roll. And, throughout the years, Miami City Ballet has brought to light its fair share of resounding new works. Still, Brian Brooks’ freshly-minted O..
Wednesday night at the Arsht Center’s Knight Concert Hall the South Florida Symphony Orchestra in collaboration with the Martha Graham Dance company presented “Appalachian Spring Suite” and “The R..
Cooking may be Dan Froot’s favorite thing. This is saying a lot since Froot is also a composer, a dancer, a sax-player, a play-wright, an oral-historian -- an all-around performance artist an..
With the closing of Tigertail Productions last year, Miami lost one of its preeminent artistic champions. Under the direction of founder Mary Luft, Tigertail brought an endless parade of boundary-..
It is difficult to describe duende. Far from elf or goblin, in its literal translation from Spanish, it is the war of emotions being fought in our groin as we experience a work of art. Duende is irrational, sometimes dark, primal, and of course, supernatural. To have duende is to be able to invoke those forces from the soul, and make everyone present imbibe them.
Last Saturday evening, Florida Grand Opera opened its 75th season with Georges Bizet’s operatic masterpiece Carmen, a work that has duende boiling under its skin; but sadly, the cast could not bring it up to the surface.
Based on Prosper Mérimée’s eponymous novella about a Gypsy femme fatale taken to her death by her jealous lover, Carmen paints a masterful portrait of how passion devours our senses.
Unlike Mérimée, Bizet was never in Spain, and the music he composed for Carmen is very much French. He did, however, incorporate idioms used in flamenco music and a Spanish folk song or two for added flavor. Bizet’s genius lies in how well his music depicts the progression of emotions experienced by the characters throughout the work.
Carmen’s true protagonist is Don José, the lover that brings her to her tragic demise. He starts off as an honest army officer, who could have enjoyed a blissful life marrying his hometown sweetheart Micaëla. Instead he meets Carmen, the embodiment of vice, and quickly finds himself under her spell. He follows her into a life of crime, where his love for her turns into obsession and rage, and when she gets tired of him and finds a new lover, he surrenders to despair.
Don José is a strenuous role that stands tall against any verismo hero of Puccini or Mascagni. Puerto Rican tenor Rafael Dávilagot through it vocally, but could not convincingly portray his character’s emotional deterioration.
The spark between Dávila and Spanish mezzo-soprano María José Montiel, the evening’s Carmen, was not even big enough to light a match. Montiel knows exactly what to do with her glorious voice, but not so much with her striking body. Carmen exudes sex, and by the end of Act I, having sung “Habanera”and “Seguidilla,” everyone watching should have been aroused. Montiel remained refined throughout the performance.
Duende was awakened by choreographer Rosa Mercedes and her rivetingflamencodancers, starting with the “Gypsy Song” at the beginning of Act II. Their delivery was intoxicating, and left the stage polished for one of the most recognizable arias in all opera, the “Toreador Song.”
The role of the bullfighter Escamillo seems to be tailor made for bass-baritone Ryan Kuster. He has the dark colored voice and magnetism and he would have stolen the show, had he been audible. Kuster had not been fighting bulls but an infection, and was rendered powerless.
It was difficult to appreciate stage director Bernard Uzan’s vision for the drama with such a disjointed cast. Still, some of his creative questions could be heard. Right before the curtain rose, Uzan reduced Carmento a dead bull being dragged away after a fight. Then, choosing to end Act II with the music of the prelude to Act III, he tenderized her with an amorous ballet between her and Don José. Who is Carmen,really? A dangerous obsession? A perfectly balanced object of desire? The incarnation of duende? No one can know.
Bizet’s ‘Carmen’ presented by FGO, Friday, Nov. 18 and Saturday, Nov. 19 at 8:00 p.m., Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami; and at the Broward Center for the Performing Arts in Fort Lauderdale, on Thursday, Dec. 1 and Saturday, Dec. 3 at 7:30 p.m. Tickets are $19 to $200; www.fgo.org.
La undécima edición del Flamenco Festival que se desarrolló del jueves 8 al domingo 11 de marzo en el Arsht Center resultó ser un hermoso reencuentro con el Ballet Nacional de España (BNE), u..
Arts Ballet Theatre of Florida (ABTF) y su escuela de ballet adjunta, ambas bajo la dirección de Vladimir Issaev, se encuentran por estos días entregadas de lleno a la celebración del bicente..
El lugar privilegiado que ocupa Miami hoy en día en el mundo de la danza no tiene discusión. Además de contar con una vibrante oferta local de proyección internacional que dura todo el año y ..
Después de una serie de actuaciones muy exitosas en varias ciudades del Este del país, Alvin Ailey American Dance Theater (AAADT) llega a Miami para ofrecer seis presentaciones del jueves 22 ..
La ofensiva espontánea protagonizada por BalletBoyz y Cie. Herve Koubi el fin de semana pasado en teatros de Fort Laudedarle y Miami, con dos propuestas artísticas absolutamente fuera de seri..
La atracción principal del tercer programa de la temporada 2017-2018 del Miami City Ballet (MCB) que se presentó el fin de semana pasado en el Arsht Center fue el estreno mundial de One Line ..
Llegados en vuelo directo desde Inglaterra, BalletBoyz (Premio Nacional de Danza 2013 a la Mejor Compañía Independiente) ofrecerá el sábado 10 de febrero una función patrocinada por Culture Shock ..
Por dos noches consecutivas, el Miami City Ballet (MCB), que dirige Lourdes López desde 2012, abrió las puertas de sus instalaciones en Miami Beach para ofrecer un encuentro Open Barre con e..
El segundo programa de la temporada 2017-2018 del Miami City Ballet (MCB) dedicado a los 100 años del nacimiento de Jerome Robbins (1918-1998), el gran coreógrafo norteamericano que triunfó ..