Tag Archives: Joseph Adler
GableStage’s Joseph Adler died shortly after his direction of The Price was cut short by the pandemic. His successor, Bari Newport, took his notes, cast, creative team and infuses it with her own sensibilities. The production would make Joe proud. Theater to make you think about your own lives. Newport’s insightful direction of superb actors navigates the dense story of past sibling strife that has crippled their present.
Echoing the resurrection of local theater, the new artistic director Bari Newport will inaugurate GableStage’s 2021-2022 season in November directing the late Joseph Adler’s detailed plan for The Price — the first title in an eclectic season featuring a musical and world premieres.
Starting April 1, the new leader at the helm of GableStage will be Bari Newport, who has served for the past nine years as producing artistic director of the Penobscot Theatre Co. in Bangor, Maine.
Joseph Adler, a titan who helped transform South Florida’s cultural landscape by mounting unblinking, dynamic work and aggressively championing local artists, died Thursday. Passionate and outspoken, curmudgeonly and supportive, gruff and loving, but unassailably a skilled artist, Adler had been a force of nature as producing artistic director of GableStage since 1998.
A central facet of his premiere Watson at GableStage is depicting what may be the world’s first personal information disaster, a horrifying tragedy as American-licensed technology is sold to the Nazis who later use it to identify Jews for extermination. But what resonates in these times are capitalism’s responsibility to humanity, and the intentional blindness styling itself as innocent ignorance.
As the writer with 28 best-selling mystery novels, James Grippando is usually focused on whodunits. But the Florida author is about to see the world premiere of his first playscript, Watson, at GableStage this weekend – as much a howdunit and whydunit about technology, capitalism and responsibility.
This year’s Carbonells with its all-white roster of winners in the performance and directing categories was simply the boiling point in a discussion that has long simmered behind the curtain of South Florida theater. Where all sides seem to agree is that there isn’t a tremendous amount of work being produced by and for black and Hispanic talent, even though, at least in Miami, they constitute a vast majority population.
Miami-Dade County is “prepared” to sue the City of Miami in order to proceed with its plan to resurrect the Coconut Grove Playhouse, said a county official spearheading the project.
Few plays have been as ruthlessly photographic depicting the pornographic incest of lobbying and corruption as well as the clash of idealism and pragmatism as Sarah Burgess’ Kings, currently on the dissection tray at GableStage.
Miami-Dade County’s current plan to resurrect the Coconut Grove Playhouse was dealt what may be a fatal blow Friday when City of Miami Mayor Francis Suarez vetoed the project primarily on historic preservation grounds. Suarez said he hoped that the county was willing to collaborate with the city on a compromised phased-in full renovation and restoration of the iconic theater.