Usually there isn’t anything sexy or dramatic or newsworthy about real estate in the world of theater unless it’s Mamet’s Glengarry Glen Ross. But as the season approaches, South Florida hasn’t seen so much packing and unpacking, opening tubes of Ben Gay, filling out of change-of-address cards, remodeling, scanning blueprints and updating websites as in the past season and the one coming up
In chronological order, here is a highly subjective, personal list of the shows whose titles or concepts we most want to see this season.
Issie Swickle. Remember that name. Not that you’d have trouble doing so. But remember when you first heard it, for bragging rights. Because you may be hearing it for a long time.
Shadowing the 18-hour day when local musicians are first thrown together to rehearse and play opening night of the Miami visit of the national tour of Evita — a job requiring skill, stamina, concentration and discipline to sound as if they have played it together for months.
The Arsht Center is t trying to keep talent in South Florida. They created MiamiArtsJobs.com, a job portal dedicated to helping find employees for Miami’s growing cultural institutions and showcasing great opportunities for people who want careers in all facets of the arts but aren’t sure where to go to find them.
Lithe and graceful, Ron Hutchins stands out in any theater lobby on opening night, often noticeable for a quiet laugh that sounds like it’s coming up out of a coal chute in the basement. But he’s obviously most comfortable sculpting a dance routine out of human raw materials whether they are highly accomplished professionals or, as often happens, raw young students.
Michael Leeds is a director, teacher, actor, dancer and songwriter, but this interview shows he is a raconteur with a storehouse of stories ranging from the woman who did an I Love Lucy bit for her audition, to the time he may have upstaged Elizabeth Taylor while wearing a panda suit.
A five-foot tall assembly of beige bags hangs in the corner of Gablestage’s cramped communal dressing room, vaguely shaped like a tan version of the marshmallow monster from Ghostbusters. No one has yet christened this fat suit created for The Whale, but even without actor Gregg Weiner inside it, it feels like it’s a character.
Despite the more headline-grabbing 6,000 gallons of water, the significance of the Arsht’s H2HOMBRE is that the public-private venue is cementing its commitment to a brand of imagistic, sensory-laden and non-traditional performance art that has been mounted in South Florida before, but not on this double-or-nothing scale.
Pembroke Pines Theatre of the Performing Arts is laboring to make its massive and expensive production of the epic Les Miserables a rebuke to silence those who dismiss community theater sight unseen.