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.”
When I look back over a year ago, to college, I tend to sometimes wonder if and how different my life would be had my plans worked out, without being interrupted by a frightening pandemic world take over. If you were to ask me when I was a senior in undergrad, where I would be today- you would get a different answer. Before Covid-19 destroyed what was left of those graduating college in 2020, leaving us in limbo between still being last semester college students and real adults, I had different plans for myself. Way different. Let me preface my previous statements by clarifying that I am not disappointed that the predictions of my adult life that I envisioned for myself in college are not what they are today. I am a strong believer that everything happens for a reason- the good, the bad, and the ugly. And just because I thought I had a different path in my direction of post-grad life, it doesn’t mean it was the right one.
(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.
There was an assignment I was given one year in College (I wonder if it will ever feel normal to talk about college in the past tense, even though I graduated a year ago?) It was called “Unplugged” and it challenged me to turn off my phone and any form of social media for 24 hours. I enjoyed the assignment so much, that I try to attempt the “Unplugged” challenge once a year or so. I know, that’s not much, but it yields great internal results even if I only do it 1/365 days of the year.
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.
Ask Elijah Word what drew him into the singing, dancing and acting sphere, and the tall, lanky, nearly 28-year-old performer with deep familial roots in Broward County and performance chops earned throughout South Florida may regale you with this story.
If you’ve ever seen Krystal Millie Valdes onstage in one of her many acclaimed South Florida star turns, you might be surprised to learn that she was once so intimidated by the cliquey kids in her middle school drama program that it took her until high school to work up the courage to try her hand at acting at all.
Playwright and actor Tom Dugan has truly perfected the art of the one-person show — having created five thus far — and will bring two of them to the Mizner Park Cultural Center in December: “Wiesenthal” and “Tell Him It’s Jackie.”
Danielle LaVia’s whole life in the theatre has prepared her for the unique and exciting opportunity she now embraces as founder and executive artistic director of the newly formed Charleston Playhouse in South Carolina.
