Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..
Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..
Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..
Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..
“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..
“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..
Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..
Steven Levenson’s “If I Forget” began its Off-Broadway run a year ago, closing just six weeks before the now 33-year-old playwright won the Tony Award for writing the book of the acclaimed musical “Dear Evan Hansen.” Cut to February 2018, and South Florida already has its own exquisite production of “If I Forget,” thanks to GableStage artistic director Joseph Adler. Levenson’s fun..
In a career that continues to soar two decades after his first play was produced, Michael McKeever has premiered his dramas, comedies and short plays at theaters all over South Florida. Nearly always, he’s involved in those productions as the author, sometimes as an actor, at times as a set designer. The plays get their start here, then go on to productions (sometimes multiple product..
When M. John Richard decided to leave the New Jersey Performing Arts Center in late 2008 to become president and chief executive officer of Miami’s Adrienne Arsht Center for the Performing Arts, he arrived in South Florida with a vision, myriad ideas and a long-term exit strategy. “I knew in 2008 that I had a 10-year run in my tank,” says Richard, 65, who plans to retire from his Arsh..
For many choreographers, a new project is an opportunity to dig into fresh ideas. But for local choreographer Pioneer Winter, his latest work “Reprise” returns to the same terrain he has been..
There are few shortcuts for anyone hoping to make it in ballet, but for black dancers that road has always been particularly arduous. A lack of access to training, scant rewards, and cultura..
For sheer pageantry, there are few dance companies that can rival the Ballet Nacional de España. In its 40th season, with 40 dancers and 11 musicians, Spain’s effusive, no-holds-barred love l..
When the Alvin Ailey Dance Theater returns to town this week, Miami native son Jamar Roberts will take center stage. As one of the company’s star dancers, he has long shined as a performer. B..
He says his dance comes from his dreams. French-Algerian choreographer Hervé Koubi’s most recent work, “What the Day Owes the Night” combines Sufi rhythms with cutting edge b-boy moves, class..
A world premiere always comes with a drum roll. And, throughout the years, Miami City Ballet has brought to light its fair share of resounding new works. Still, Brian Brooks’ freshly-minted O..
Wednesday night at the Arsht Center’s Knight Concert Hall the South Florida Symphony Orchestra in collaboration with the Martha Graham Dance company presented “Appalachian Spring Suite” and “The R..
Cooking may be Dan Froot’s favorite thing. This is saying a lot since Froot is also a composer, a dancer, a sax-player, a play-wright, an oral-historian -- an all-around performance artist an..
With the closing of Tigertail Productions last year, Miami lost one of its preeminent artistic champions. Under the direction of founder Mary Luft, Tigertail brought an endless parade of boundary-..
Seduced by the jazz in his dad’s music collection, a kid from Perth, Western Australia, takes up the saxophone at age 13. He grows up, moves to the United States and becomes a star. Dreams do come true: a number of them in the case of Troy Roberts, one of the featured artists at this year’s Melton Mustafa Jazz Festival.
He’s performed with the likes of Sammy Figueroa, Christian McBride and Aretha Franklin and appeared at International Jazz Day events with Esperanza Spalding, Gregory Porter and the legendary Wayne Shorter. He’s released seven albums as a leader – the latest, “Tales & Tones,” is zooming up the charts – and appeared as a sideman on more than two dozen others, one of which earned a Grammy nomination.
After several years as a student and educator at the University of Miami, Roberts now resides in New York. Since heading north, he’s recorded with such notables as drummer Jeff “Tain” Watts and Orrin Evans, a pianist. He’s part of a new ensemble formed by organist Joey DeFrancesco; their debut recording, Project Freedom, also is swiftly climbing the charts.
So what’s it like living the dream(s)? “It’s overwhelming. It also snuck up on me,” he says, explaining that life as a musician based in the jazz capital of the world keeps him constantly busy, playing different kinds of gigs in different places, always consumed by the music – until he has a rare moment between tours and performances and recordings to catch his breath.
“That’s when it hits you,” he says. “and now it’s like, whoa, that just happened.”
Roberts, who grew up listening to DeFrancesco, is excited about his work with the organist. “I finally have a chance to tap into a part of my musical background,” notably the work of saxophonist Stanley Turrentine and organist Jimmy Smith. The music, he says, is “stylistically really vast, really kind of pretty involved compositions but also really accessible.”
Another peak experience was recording “Tales & Tones” with Watts and the bassist Robert Hurst; Roberts said that as a kid, he had dreamed of playing with them. Roberts’ pleasure is evident as he talks about making the album, which he called “probably the most straight-ahead album I’ve ever done.” But he said he’s so busy this year with other people’s projects he doesn’t have time to go on tour to support it.
However, he plans to get back to work on his Nu Jive project, which produced two of his albums and features South Florida-based artists David Chiverton, Eric England, Tim Jago and Silvano Monasterios, who has now also moved to New York. “That’s something I’ve kind of not had the time to put into, but I also recognize that that’s how Tain and Joey D heard about me,” he says. “I think I need to take a little more care of it again.”
He looks forward to his first appearance at the Melton Mustafa Festival, founded by the South Florida trumpet legend and now in its 20th year.
“Melton’s a really important part of the Miami jazz scene and I’m really honored to be there,” he says. “He’s such a great musician in so many ways, I think he needs to be more recognized.”
Troy Roberts is among the featured artists at the Melton Mustafa Jazz Festival, Friday through Sunday, Feb. 24-26, the Lyric Theater, 819 NW 2nd Ave., Overtown. In addition to Sunday’s culminating concert, the event features workshops and master classes, an evening of art, authors and film, and other performances. Tickets range from $10 to $100; Sunday’s show starts at $50; www.eventbrite.com/e/20th-annual-melton-mustafa-jazz-festival-weekend-february-24-25-26-2017-tickets-30812504029.
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