Rafaela Nofal’s play “El tiempo de la mandarinas” (“Season for Tangerines”) tackles the very relevant and disturbing theme of human trafficking. Produced by Antiheroes Project, this moving play is in its last week at Artefactus Teatro, a well-purposed black box and gallery space in a smattering of warehouses in Kendall. Nofal’s text removes overt violence and male characters fr..
Joshua Harmon’s savagely funny “Bad Jews” is an emotional cage match set in a pricey Manhattan studio apartment. The combatants are Daphna Feygenbaum (Hannah Benitez), a soon-to-be Vassar grad who plans to move to Israel, marry a man no one in the family has met and become a rabbi, and her cousin Liam Haber (Joseph Paul Pino), a master’s degree candidate and atheist who intends to..
The play begins, as it must, with the velvet voice of Nat King Cole crooning “Mona Lisa.” After all, how many paintings inspire an Oscar-winning song? For that matter, how many masterpieces survive damage, theft and the rapacious covetousness of collectors for more than half a millennium? Leonardo da Vinci’s “La Gioconda,” popularly known as the Mona Lisa, is that inspi..
A casual conversation with a fellow theater artist prompted José Manuel Dominguez, founder and artistic director of Antiheroes Project, to produce the company’s latest piece, “El tiempo de las mandarinas,” (“Season for Tangerines”) by Argentine playwright Rafael Nofal. “I am drawn to themes of memory, dreams, and paradise lost, but for a long time I’ve wanted to do a play based on reality,” sa..
The 32nd International Hispanic Theatre Festival kicks off on Thursday, July 6 with the Mexican company Los Tristes Tigres’ irreverent spin on Shakespeare, “Algo de un tal Shakespeare” (“Something by One Shakespeare”). Founder and director Mario Ernesto Sánchez, the festival’s engine that could and still can, identifies this raucous play as part of the festival’s larger goal of attracting..
Nowadays, it’s tough not to feel worried, paranoid or in need of some escapist relief from the steady flow of oh-no-he-didn’t news out of Washington. Miami playwright Theo Reyna feels your pain. His response is “Firemen Are Rarely Necessary,” a jet-black satire now getting its Mad Cat Theatre Company world premiere at Miami Theater Center’s Sand Box. The play takes intricately aim..
Pearl Cleage’s play “Flyin’ West,” an M Ensemble production currently on stage at the beautiful new performing arts center in Liberty City, the Sandrell Rivers Theatre, is set in humble Nicodemus, Kansas, the only remaining western town established by African Americans during the reconstruction period following the Civil War. Set in 1898, the play focuses on the lives of Sophie (Brandiss ..
Esteban, (http://estebanlapelicula.com/en/) the debut of Cuban director Jonal Cosculluela being premiered at The Miami Light Project tells the story of a 9 year old, living in Havana with his mother, who’s raising him as a single parent, and his perseverance following his dream of becoming a musician. The challenges seem overwhelming. Esteban and his mother struggle to make ends meet (htt..
Desperate times call for desperate measures. For some, that might mean taking a second or third job. Or robbing a bank. Or moving in with family. For Casey, a straight lip-syncing Elvis impersonator in a Panama City bar, desperation means forsaking the King’s rhinestone-studded jumpsuit for leg hair-hiding pantyhose, fake boobs and big-hair wigs, the better to sell himself as a fa..
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..
When Ballet Flamenco La Rosa takes to the stage this weekend, it will present a program based on traditions which were handed down through the ages. A program filled with the mysteries of fl..
With every great new love, the beginning is a crucible of extremes – will it endure for decades or permanently scar?The program for Dimensions Dance Theater of Miami’sJuly 8show, “Fiebre: A N..
With a heightened emphasis on “Noise” as an innovative musical genre, this sixth installment of the Miami Performance Festival International (M/P’17), running June 23 to 25, challenges South..
After 17 years as a principal dancer with the esteemed San Francisco Ballet, dancing every major role and style possible, Lorena Feijoo is retiring from that company to embark on a new journe..
Miami choreographer Marissa Alma Nick is a storyteller. Her company Alma Dance Theater brings a particularly female inner world to the stage, through lush and sensual choreography. Nick’s..
Pools are ubiquitous in Miami. They dot the landscape like Jackson Pollock drip paintings. Residents swim or idle the hours away by or in the pool – and dancers of Momentum Dance Company also perf..
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 ..
“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 debut de Dimensions Dance Theatre of Miami (DDTM) en noviembre del año pasado fué un acontecimiento artístico y un descubrimiento sumamente agradable. Una sola función en el Miami-Dade Cou..
El festival “Out in the Tropics”, patrocinado por Fundarte en conjunto con el Centro Cultural Español y el Miami Book Fair International, normalmente trae artistas del mundo LGBTQ e hispanoha..
La Gala anual de Cuban Classical Ballet of Miami (CCBM) es un evento que esperan con ansiedad los aficionados al ballet en Miami y, sobre todo, los admiradores del estilo cubano. Desde su deb..
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..