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“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..

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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..

The name Flamenco conjures the machine-gun snap of heels, arms arched overhead, the flick of red fabric and laser-like glares from beneath the starched black brim of a Cordobes hat. At the ed..

It’s easy to believe the only excitement Miami offers in September are the dire warnings from the weather service about the approach of yet another tropical storm. However, dance lovers in Mi..

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..

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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..

Pianist-Composer Frederic Rzewski Brings Revolutionary Fervor to Miami

Photo: By Annette Morreau
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If the political movement that saw its birth after the November elections is in the market for a composer to set the score for its many marches, Frederic Rzewski might be a strong contender for the role. Rzewski, who makes a rare South Florida appearance Saturday at the Miami-Dade County Auditorium to open Tigertail Productions' month-long dance and music festival "Fire," is the real deal. With a lifetime of progressive causes infused in his music, the 78-year-old contemporary pianist has the requisite experience for a concert entitled "Music of Resistance." And age has not dampened his passionate commitment to art as an agent for social change.

Other "Fire" events include "Fire Gods in the Garden," with site-specific dance pieces by Marissa Alma Nick, Carla Forte, Hattie Mae Williams and Pioneer Winter, on April 12 at the Vizcaya Museum & Gardens; and New York-based Reggie Wilson and his Fist and Heel Performance Group in "Citizen," April 21 to 22 at Miami-Dade County Auditorium.

Rzewski developed both his political beliefs and his musical talent at an early age. Born in Massachusetts of Polish stock during the waning days of the Great Depression, both of his decidedly apolitical parents were pharmacists who could send him to piano classes at the age of five. His left-leaning piano teacher, Charles Mackey, “used to mix politics in the music,” Rzewski said in a phone interview. “Everybody knew he was supposed to be ‘Red,’ but he was also the best piano teacher.”

This was during the beginning of the McCarthy era. “He taught me all kinds of things, and these were not the kinds of things that good American boys were supposed to know about," Rzewski said. "It didn’t take long before I acquired the nickname in seventh grade of ‘comrade.’”

Centuries of worldwide political rebellion appear in Rzewski’s work. A song from Ireland’s Easter Rising of 1916, a melody invoking 1938’s Kristallnacht (the night when violent Nazi persecution of the Jews was unleashed), an anthem from the U.S. Civil Rights Movement—all took on a symbolic value in Rzewski's hands, often different from their composers’ original intent. Rzewski latches on to a popular melody, then revisits, reworks and revives it for audiences who may never have known the original but who can now feel its incantatory pull.

Included on Saturday’s program will be the most famous of these pieces, “The People United Will Never Be Defeated.” The composition is a nearly hour-long exploration of the seemingly limitless possibilities of a fragment of melody that is beautiful, infectious and replete with real-world drama. It is Rzewski’s 1975 answer to the CIA-aided Chilean military coup that saw the overthrow and death of a democratically-elected president, Salvador Allende, and the installation of General Augusto Pinochet, setting off a Latin American reign of terror. Riffing on Sergio Ortega’s emblematic protest song, “El pueblo unido jamás será vencido," Rzewski works and reworks a single melodic line, each time finding a different tone or detail to emphasize. The voices are disparate, but each expresses the same overarching, inspiring idea, much as a group of individuals in the market for a successful revolution must.

Rzewski began writing "The People United" as a response to the disinformation in America regarding the events in Chile. It was, ironically enough, a commission for classic pianist Ursula Oppens to perform in the Kennedy Center as part of the celebration of the United States Bicentennial. Our independence, thought Rzewski, “was about a small country… asserting its right to independence against a large country, which was Britain. Now, 200 years later, the roles are reversed.”

Rzewski will also play a much newer, politically charged work, 2016's “Ain’t Gonna Let Nobody Turn Me Around (Songs of Insurrection No. 3).” His interpretation of the iconic freedom song will surely differ from the one NAACP leaders sang at a sit-in at then Attorney General nominee Jeff Session’s office in January, but the feeling is no doubt the same.

Not all of Rzewski’s work is focused on politics; he's also known simply for making good music. His performances are feats of stamina. He plays with hurricane force, with dangerously fast passages that race down the keyboard, reminding listeners that the piano is indeed a percussion instrument. Technique is essential, and Rzewski admits to purposefully making his compositions difficult in order to weed out lousy would-be performers. Pianists not up to snuff, he says, won’t go near his work.

“There are no bad performances,” he comments wryly. “Music comes first. Whether it’s a baseball cheering song or whatever, the only reason that it catches on is because it’s good music.”

Frederic Rzewski “Music of Resistance,” Fire festival, Miami-Dade County Auditorium On.Stage Black Box, 2901 W. Flagler St., Miami; 8:30 p.m. Saturday; $35; tigertail.org.


 


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