Tag Archives: Adrienne Arsht Center
Worldless, disconnected, as neutral and interpretable as a Rorschach ink blot, H2OMBRE is a Cirque du Soleil-like show designed by and aimed at people raised on comic books and fantasy flicks. Anyone seeking a conventional definition of theater will be appalled. But this creation will close in on sheer nirvana for those seeking an immersive experience akin to a South Beach club erected at Comic-Con.
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.
This national tour of the 2012 Broadway revival of Evita is a strong fresh edition that gives the raw material a thorough makeover but does not deconstruct the piece. The experience is helped immeasurably by the clarion voices of the lead actors. The only facets missing most of the time are the electric sizzle and raging passions that marked earlier productions.
In three visits to Miami, the House Theatre of Chicago has always exuded an underlying love of the gloriously imaginative storytelling only theater can deliver. But its current entry at the Arsht Center, Rose and the Rime, is specifically about storytelling as much for adults as children.
Miami-born siblings Natalie and JJ Caruncho, pursuing careers in New York, have created a company whose first production will be Stephen Sondheim’s musical Into The Woods as part of the Arsht Center’s Theater Up Close series next season.
Three of Broadway’s most popular hits come to the Arsht Center next season through the Broadway Across Miami series: the irreverent satire The Book of Mormon, the exuberant Disney’s Newsies and the exquisite Rodgers and Hammerstein’s Cinderella.
If you’re suffering from the holiday blues, Elf isn’t going to pull you out of it. But if you can pry open your sugar-clogged aorta a smidge, this sweet peppy musical may generate a warm afterglow as Santa’s sleigh twinkles out of sight. But the tone is different than the 2003 film whose pre-sold title and basic premise the producers hope to cash in on.
Like the rest of the country, South Florida theater took tentative steps throughout 2013, banking on the promise of a recovering economy and a durable demand for art. Evidence was visible across the three counties: theaters mostly opening not closing, established companies moving into new venues, young companies finding audiences, runs extended, a continued commitment to riskier experiments .