For 32 years, Karen Peterson & Dancers (KPD) have been conducting stage performances aimed at focusing public attention on physically integrated dance presentations. Her ensemble will celebrate that multi-decade milestone with a very special production of “Repertory Favorites,” a multidisciplinary dance concert, May 27 and May 28 at The Dennis C. Moss Cultural Arts Center’s Lab Theatre in South Florida.
Artistic inspiration flows from many sources, including ideas and images created long before younger artists build upon them to fashion something new.
Take “Create Dangerously,” which began as a 1957 speech by Nobel Prize laureate Albert Camus.
When the celebrated Haitian-American author Edwidge Danticat was asked to give the second annual Toni Morrison lecture at Princeton University in 2008, inspired by Camus, she delivered a speech titled “Create Dangerously: The Immigrant Artist at Work.” In 2010, Danticat published a book with the same title, a work blending memoir, essays and stories about the courage of Haitians at home and in exile.
The spring season of dance in South Florida would not be complete without a final outstanding series of performances from Dance NOW! Miami. This leading contemporary company brings their Program III on Thursday, May 11 to Lake Worth’s Duncan Theatre, on Friday, May 12 to Broward Center’s Amaturo Theater, and on Saturday, May 13 to the Aventura Arts & Cultural Center. The performances will feature a restaging of Joffrey Ballet’s boundary-breaking work, The Relativity of Icarus, and the world premiere of their own new piece, Gli Altri/The Others.
Hey, all you rock ‘n’ roll buffs, devotees of music styles that flourished in the 1950s; aficionados of local theater and all you folks who are known to frequent the Wick Theatre in Boca Raton on a regular basis. Get ready to have your socks blown through the back doors by a powerhouse musical that will revive your memory nodules and push your melodic reminiscences to their limits.
According to my latest calculations, I can never rest.
If you’re wondering why I have been absent from this “blog” segment of the site since this past December, it’s because I haven’t exactly had time to breathe. Ok, that might be a slight exaggeration—but I have, indeed, been busy. Like, going straight from the rehearsal period for one play I’m acting in straight into another, while also trying to adapt to my new job at ASC, while also trying to keep up with my NCP dramaturgy and miscellania, while also continuing to compulsively cover every production that comes my way—not, mind you, because anyone is making me, but because, especially for the smaller shows, if I don’t cover them, then it often seems likely that no one will. Out of some bizarre sense of duty—or maybe just a fear of ever letting anyone down.
There comes a point in every actor’s life where they start thinking about getting an agent. Or is it a talent agency? They might sound like the same thing, but they are not. A talent agency is a business that represents and finds entertainment gigs for hundreds, if not thousands of actors in their database. Whereas, an agent is someone who exclusively represents you (and maybe a few others), but they are personally invested in your talent and your success. So which one should you get? Well, that’s up to you! But here are a few things you should know about each in order to make your decision.
In today’s world, there’s very few things that bring large groups of people together. There’s a few obvious reasons for this. A worldwide pandemic that instilled fear and discomfort into all Covid victims and Americans becoming more divided than ever before from increasingly strong opposing political and social views. However the things that do bring people together, especially in large groups, are so much more special because of their rarity.
Taylor Swift, the universally loved and multi-Award winning talented singer/songwriter is one of those aforementioned things that can bring a large group of people together. And by large, I mean over 70,000 people. Together. At the same time.
A jukebox musical simultaneously bears a unique burden and boasts a special advantage: Unlike other musicals, wherein your first time seeing it often means your first time hearing the songs in it, a jukebox musical presents songs you’ve likely heard many times before. The result — especially if you’re going in as a fan of those songs — can be a disappointing journey down a distorted memory lane, or it can be a triumph of balancing tribute with storytelling.
Miami, FL – April 25, 2023 – The Adrienne Arsht Center for the Performing Arts of Miami-Dade County (@arshtcenter) proudly presents the anticipated return of STAATSKAPELLE BERLIN (@statsoperberlin), one of the world’s oldest and most esteemed orchestras, to Miami after 17 years with acclaimed conductor, Daniel Barenboim (@dbarenboim), at the Center’s Knight Concert Hall on December 5 and 6.
If the fact that Lynn Nottage’s play Sweat is an intensely relevant and well-crafted one wasn’t already relevant from its status as the 2017 Pulitzer Prize winner, the fact that I was able to stumble upon two different productions of it playing only a few counties apart in a single weekend is also probably rather telling. Since, regrettably, I can only be in so many places at once, only one of these productions still happens to be running—the Main Street Players’ version, which will be playing until this May 14—but I actually found stopping by Florida Atlantic University’s Department of Theatre and Dance production to be tremendously clarifying as to the piece’s potential and power.
