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..
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 ..
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 ..
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..
Many were skeptical when Jazz Roots, a concert and educational series, was launched at the Arsht Center for the Performing Artsin 2008. Even Larry Rosen, who had moved to the area from New York in 2000 and co-founded the event with the Arsht Center, once talked about how “anyone who’s in the jazz business knew that Miami was not a jazz market. So when I came here, I certainly knew what to expect. But you don’t really understand Miami unless you live here.”
So he got to work. A very successful musician, producer, record label owner and entrepreneur, Rosen certainly had experience at going where more timid souls dared not tread, going all-in on the digital revolution in the early 1980s (founding the all-digital GRP record label with composer, arranger and pianist Dave Grusin) and, a decade later, anticipating iTunes with his online music retailer N2K.
To the concept of a jazz series, Rosen brought to bear his experience with branding, a hard-to-match list of jazz contacts, thematic ideas for programming, and an educational approach to promotion, including interviews with the featured artists broadcast on local radio. The series also established a partnership with Miami-Dade County Public Schools and by now, nearly 8,000 high school students have attended concerts, sound checks and Q&A with the artists.
Miami remains a difficult market for jazz— but Jazz Roots has thrived. (Along the way, the series expanded to performing arts centers in places such
as Orlando, Dallas, Indianapolis, Newark, Atlanta and Las Vegas.)
Rosen passed away in October of last year, but perhaps there is no better tribute to his talents than a new season of Jazz Roots in Miami, which opens November 4.
Pianist, composer, arranger, producer and dean of Frost School of Music at the University of Miami, Shelly Berg, a longtime friend and collaborator of Rosen and a jazz musician himself, was appointed artistic advisor by the Arsht Center in July. He talked about the challenges of programming and presenting jazz in South Florida and Miami as a 21st century New Orleans.
How do you see the place of Jazz Roots in the South Florida scene?
Jazz Roots is not only a concert series but also 200 kids come to every concert and get to see and talk to the musicians, see the sound-check and attend a master class, so I think in that way it’s a hub for jazz in South Florida. By the time we're done with the series every year, 1,200 school kids who participate in music get extra training.
The other component is curatorial. You want to excite people about the series, so you don't want the music to be so esoteric that it turns them off. In terms of programming we just try to do whatever we think might be the most entertaining. We have built a brand that people trust.
How does the size of the hall (2,200 seats) and the entertainment-directed approach frame your programming choices? Does it automatically preclude more challenging, adventurous artists and styles of jazz?
Everything is on the table — but I don't think entertainment is a dirty word. In [an area] of two million people you can probably find a hundred people to like almost anything. But if you are going to do something for a subscription series, for people who trust a brand, then my filter is not only how great the music is but also how entertaining is it going to be for the audience. The other thing we consider when we book artists is the education and inspiration that they might provide young people. That's been a cornerstone of Jazz Roots from the very beginning.
How was this season put together — especially being the first one without Larry?
Larry Rosen’s vision for this series was not to just see who was on tour and plug in six dates. For those of us who were at the beginning of this, we knew that there was a vision, and part of that vision was to make something special happen six nights a year in a concert hall so a large audience that are not just your jazz devotees, walk away thrilled and would want to hear more.
The idea has been to curate a six-concert season that had some sort of a narrative and along the way, create something special. The first concert is To Larry with Love, the tribute to Larry. Every year ever since Jazz Roots started, we kick off the season with a curated concert for which we write the script, we hire the artist and create a one-time, it-only-happens-in-Miami event. We also have the Chick Corea and Gonzalo Rubalcaba concert. That wasn't something that was going around, that's something we curated.
Branford Marsalis and Kurt Elling had never performed together. … We asked them to come and do this concert for Jazz Roots.
And Steve Miller is a rock star. He can charge for one concert what we have as a budget for the whole season. But he's coming to Miami because he wants to do the show here. So to the extent that I can do what Larry did, and use our relationships to curate singular events that you cannot hear anywhere else, I will be very happy to do that.
You have a lot on your plate as a musician and educator, why taking on Jazz Roots?
I’m so honored to be able to keep Larry's vision going. Larry started a jazz record company when jazz was supposed to be dead — and it was huge. And Larry started a jazz concert series in a concert hall when you were not supposed to do that — and it's been very successful. When 1,800 people walk out of the Arsht Center and say “I'm so glad I went,” you are creating a better world for jazz.
Jazz Roots 2016-2917 six-concert season featuring Dave Grusin, Steve Miller, Chick Corea, Gonzalo Rubalcaba, Branford Marsalis, Kurt Elling and the Jazz at Lincoln Center Orchestra featuring Wynton Marsalis; opening November 4, 8:00 p.m. with To Larry With Love, Knight Concert Hall at the Arsht Center for the Performing Arts, 1300 Biscayne Blvd., Miami; tickets range from $45-$125. For series subscriptions and individual tickets, 305-949-6722, or online at arshtcenter.org/jazz.
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, ..
No hay que viajar a otro país para disfrutar en vivo de la música cubana del momento, la más innovadora, la que le da la vuelta al mundo. Basta con asistir a Global Cuba Fest, aquí mismo, en ..
Nadie como el bailarín y coreógrafo español Antonio Gades para describir el arte que lo hizo internacionalmente famoso cuando vivía: “Un extracto de fuego y de veneno, eso es el flamenco”. ..
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..