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..
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.
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..
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