It’s much like the penultimate scene in a sci-fi movie. At just the moment you think you’ve beaten the coronavirus and are on the verge of getting back to some semblance of a normal life, a new strain emerges to pull you back down into the thick of the fight.
Avery Sommers has long served the world of theater with her booming voice and talent she presents on the stage. Starting in the original cast of Platinum (1978), Ain’t Misbehavin’ (1978) where she replaced Nell Carter after stepping down from her role, she moved on to do a national tour with Chicago as Matron “Mama” Morton (1997) lasting eighteen months.
The Miami City Ballet (MCB) expects to welcome in-person audiences back to its three home performance stages in Miami-Dade, Broward and Palm Beach counties this fall as it cautiously, but confidently announces its 2021-22 “Sunshine in Motion” dance season.
Emily Elizabeth Tarallo has seen the performing arts stage from both sides.
“My mother (Amy London) is a brilliant director/stage manager, and my father (Barry Tarallo) is an actor/musician with one of the best voices I’ve ever heard. He performed on and Off-Broadway in Grease and Joseph and the Amazing Technicolor Dreamcoat. I remember growing up in various theaters, watching them on stage. It’s all I’ve ever known.”
Carey Brianna Hart knew she wanted a career in the theatre at the tender age of three.
“I watched a lot of Shirley Temple movies when I was little and was a flower in a play in pre-school,” she laughed. “I got to sing a little song and everybody applauded. My mind was blown. I was hooked. That was it.”
The morning before I arrived at the Miracle Theatre to see “¡Fuácata!or A Latina’s Guide to Surviving the Universe,” the funky one-woman show by Stuart Meltzer and Elena Maria Garcia that will be running there until this September 12th, I happened to be feeling very out of place.
Even if you already know all there is to know about Florida history, you still have plenty of reason to check out Florida: Her Stories, a unique digital production that “explores the stories of women who made and are making Florida.”
(Note: Assuming that nobody needs a spoiler warning for a 400 year old play here…)
Fittingly enough for a show that is perhaps most famous for the dejected Duke Orsino’s request that his musicians play on in the name of love, Palm Beach Shakespeare’s production of Twelfth Night lavishly leans into love and music alike.
To most performers, receiving a coveted Actors’ Equity Association union card means one has truly arrived as a professional. It’s a rite of passage, a privilege and an honor, proving to the world you’ve earned your stripes and your rightful place in the pantheon of performers. However, actually making a living as a member of AEA, especially outside of New York City, all too often comes with some startling realities that turn the sweet accomplishment of owning that union card into onerous burdens it can strap onto an actor’s career.
