“Baño de Luna,” written and directed by Pulitzer-prize-winning playwright Nilo Cruz and presented by Arca Images and the Miami-Dade County Auditorium, marks the debut of the Spanish-language version of “Bathing in Moonlight,” the original English production that debuted at the prestigious McCarter Theatre Center in Princeton, N.J., in 2016. Performed by a stellar cast in Spanish..
Rafael 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..
Watching Neri Torres rehearse is a study in focus and concentration. She demonstrates each step with an ease developed from years of immersion in the study and performance of Afro-Cuban ..
Miami-based organization Delou Africa has been the ambassador of African dance and drumming in South Florida for the last 30 years. It started as a performing company, and has since expanded..
Miami Beach’s old city hall on a Thursday evening in June made a surreal set up for anyone familiar with tango’s broody scene -- a large cozy room full of cheerful, laughing, and smiling..
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..
Mexican singer Natalia Lafourcade is as tiny as a house sparrow, with a voice as clean and pure as a bell. These delicate qualities belie a fierce inner strength and a steely artistic will. As an artist, she is flexible, shaping herself anew to fit the spirit and the times, but sturdy against the fickle, shifting winds of easy fashion. Miami audiences who haven’t already discovered her have the chance to do so for themselves when she plays the historic Olympia Theater this Friday.
Perhaps Lafourcade’s internal fortitude is a product of experience. This 33-year-old performer has been in the music business for nearly two decades. As a 14-year-old, Lafourcade sang with an all-girl bubble-gum pop group called Twist. Later, in 2002, a video for her first solo album casts her as a Bjork-like renegade in round, googly-eyed glasses and a pink quinceañera dress that looks like it came straight from wardrobe for the telenovela “Betty La Fea.” Just two years ago, she struck musical gold as a lovelorn indie rocker; her platinum-selling sensation, Hasta la Raíz, which traces the trajectory of a good love gone bad, garnered five Latin Grammys (she later went on to tie with Pitbull for a regular Grammy for best Latin rock, urban or alternative album). As for many a female pop idol, from Madonna to Shakira to Miley Cyrus, Lafourcade’s route to self-discovery has been a long and winding road.
Her latest release, a two-disc opus entitled Musas, seems at once a radical departure and a natural next step for her. If her previous album centered on the root of a love that digs deep into the soul only to be torn out, this new album is more outward bound, offering the hope of a fresh start. To find it, she goes back to the roots of Latin American popular music, mining the Golden Age that was the 1940s, ‘50s and ‘60s. She and her collaborators have placed these treasures in simple settings that allow them to glow with a wild beauty that has been stripped of pretense.
As she set about to explore this music, Lafourcade found she needed experienced guides. She approached Los Macorinos, the guitar duo of Miguel Peña and Juan Carlos Allende, who accompanied the legendary Chavela Vargas throughout the last 10 years of her career. “When I heard them playing, I fell in love,” Lafourcade said simply. As they worked together, the two men, who are both some 40 years her senior, taught her a deeper way of paying attention: “I had to learn about patience, to let the music get its own spirit and voice.”
Over a year-long period the trio bonded over dinners at Lafourcade’s home, with no real plan for an album in mind: “I was just trying to get closer to the music that I love and to make this project. But I wasn’t really thinking about putting it out,” she said. “It was beautiful because we were rehearsing a lot and we were playing a lot and that gave me the chance to connect to the meaning of the lyrics and the music and the harmonies and the rhythms.” They narrowed down a list of some 100 songs to just the handful that Lafourcade felt would resonate most with her voice and her style.
When Lafourcade’s label, Sony, eventually heard the work, they decided it would make a fitting follow-up for the wildly popular Hasta la Raíz album. By today’s standards, the new work would be a minimalist endeavor: “The rules for the project that I set were that we were going to record with acoustic instruments,” said Lafourcade. “I just wanted acoustical guitars, el cuatro venezolano, jaranas, viruela—all traditional instruments.” Fittingly, they recorded these down-to-earth songs the old-fashioned way, playing full takes acoustically together in a room until the sound, with its perfect imperfections, was what they wanted.
One of the cuts on Musas is a duet of the torch song “Tú Me Acostumbraste” with the inimitable Omara Portuondo, the 86-year-old Cuban chanteuse of Buena Vista Social Club fame.In a video released with the album, you can watch as Lafourcade wraps her voice around Portuondo’s deep and smoky singing in a musical gesture as tender as when she lies down on a couch beside the older woman and gently caresses her head.
Indeed, all of the new videos for Musas demonstrate what masters of image and mood are Lafourcade and her team. The storyline of the vignettes that surround the songs are straightforward: A dance party where each of your hipster friends is more interesting-looking and talented than the next; a drown-your-sorrows-in-tequila scene in which you pour your heart out to two of the greatest acoustic guitarists on the planet. The colors are luscious and rich, the production values are stellar, the characters intriguing. But it is the music itself, a steeped-in-nostalgia yet somehow totally new sound that Lafourcade and her group have created that draws you in and keeps bringing you back.
If you go
What: Natalia Lafourcade, Musas Tour
Where: Olympia Theater, 174 East Flagler St., Miami
When: 8:00 p.m. Friday, June 16
Info: Tickets $35 - $55; olympiatheater.org, (305) 374-2444
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, ..
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..