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..
“Heaven sends us habits in place of happiness,” two women of a certain age observe in a famous line from Tchaikovsky’s opera Eugene Onegin. Yet the new Florida Grand Opera production makes the case that habit, or at least experience, might actually be the source of happiness.
In Onegin’s opening scene at the Arsht Center,two sisters sweetly sing of love’s sighs and sorrows. Soprano Dina Kuznetsova has a ruby-toned voice perfect for the role of the bookish, lovelorn Tatyana. Her tone blends nicely with the contralto of Courtney Miller, as her younger sister, Olga. But as their mother, Madame Larina, who recalls her own youthful folly, the more seasoned soprano Robynne Redmon brought greater confidence and power to the stage.
In the relatively minor role of Madame Larina’s servant Filipyevna, bona fide diva Denyce Graves sent a wave of excitement through the hall. The mezzo-soprano, famous for her turns as Carmen and Delila at the Met, outshined the rest of the cast, despite her gray wig and drab uniform.
But this was not an occasion for star power. As director Jeffrey Marc Buchman explains in his program notes, the FGO production rejects the typical operatic drama and spectacle to achieve what Tchaikovsky considered an even deeper human feeling: intimacy.
Though an opera hall is hardly an intimate space, a simple set of columns suggesting a natural birch tree forest gave even the ball room scenes a sense of nature and peace. This is the peace that Tatyana finally finds in her duty as a wife, but that forever eludes the title character, the careless and thoughtlessly cruel, Onegin.
As Eugene Onegin, looking very much the part with top hat and cane, and moving with the grace of a dancer, the dashing baritone Franco Pomponi could have stepped out of a Jane Austen novel or one of the romantic bard Byron’s poems. His voice has a sweet tinge that could easily seduce an impressionable girl, with none of the gravel often heard in this role to insinuate Onegin’s dissolute character.
Kuznetsova captured the wonder of first love in a famous scene where Tatyana writes Onegin a letter confessing her feelings. Her gorgeous, floating high notes ached with desire.
But if Onegin steals Tatyana’s heart, it is his faithful friend -- and Olga’s childhood love -- Lenski, who stole the show. Tenor Chad Johnson conveyed the pathos of a young man whose jealously has lead him to likely death in a duel with his best friend in a voice tremulous, but controlled.
In another opera, perhaps by an Italian composer, this tragic death might be the story’s end. Following his source, the Russian novelist Pushkin, and Chekhov after him, Tchaikovsky finds tragedy not in dramatic death, but the mundane persistence of life. As Prince Gremin, capably voiced by bass-baritone and FGO Young Artist Alex Soare, intones “all ages surrender to love.”
Unfortunately, conductor Alexander Polianichko did not surrender much to the cast. Tchaikovsky’s music is so full of feeling that the orchestra could tell the story all by itself, but the singers could have benefited from more sensitive pacing as the orchestra crowded even the most poignant moments.
Florida Grand Opera presents Eugene Onegin on Thursday, February 9 and Saturday February 11 at the Broward Center; tickets $21-$139; Fgo.org.
El 11 y 12 de mayo próximo tendrá lugar en el Miami -Dade County Auditorium el estreno en Estados Unidos de Scrutiny: The World Gone Astray(en español,Escrutinio: El mundo se ha ido a la deri..
Para el pianista y compositor cubano Omar Sosa la noción de una cultura global, sin fronteras, no es un concepto abstracto sino un tema personal. En su música, elementos de hip hop y rumba, ..
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Desde Las troyanas de Eurípides hasta “Guernica” de Picasso, o de la canción “Blowing in the Wind” de Bob Dylan al diseño de las gorras rosadas que llevaron miles de mujeres en las protestas ..
En un discurso de 1977, el escritor argentino Jorge Luis Borges desmintió la idea de que la ceguera fuera un mundo de oscuridad cuando describió su propia “modesta ceguera”. Hablaba de ciert..
En su discurso de recibimiento del Premio Nobel, el poeta chileno Pablo Neruda afirmó que el poeta no es un "pequeño dios." De hecho expresó que el mejor poeta “es el hombre que nos entrega e..
En la cultura yoruba, y sobre todo en sus manifestaciones caribeñas como la afrocubana, las historias contadas oralmente por generaciones ocupan un lugar esencial. Esas historias, muchas de e..
En la serie artística Out in the Tropics, la tarima no discrimina, la sensibilidad de los intérpretes es inclusiva y todo público es bienvenido. Producción de la entidad local sin fines d..