Tag Archives: Miami New Drama
South Florida stages are dormant, but the theaters themselves are not. Already, the community is trying to adapt to the exigencies of the current brave new world by offering imaginative initiatives to serve their patrons and their fellow artists. We will update this story as more projects are announced.
In-depth report: Sets still standing on stages are silent pledges that these productions and theater itself in South Florida will resume – albeit in what many believe will be a different world. But what that cultural world will look like for audiences and artists could not be more uncertain, say theater professionals who have had to rethink and rethink again their plans. It’s different from when other disasters have struck Florida like hurricanes; this one may be open-ended.
The Coronavirus is closing some shows in South Florida theater, and causing the indefinite postponement of others, including the eagerly awaited world premiere musical A Wonderful World at Miami New Drama and the Carbonell Awards gala.
Energy suffuses rehearsals for Miami New Drama’s world premiere musical about Louis Armstrong A Wonderful World – not a revue but a highly-theatrical biography in which Armstrong’s famous numbers are infused as part of the plot or as character-revealing reveries.
Michael Leon’s world premiere The Cubans at Miami New Drama delivers an almost tactile depiction of how an extended family with multiple generations prioritize family unity while trying to preserve their culture and values against social pressure to assimilate and their children embrace a diverse outside world.
Other than two crippling developments, South Florida theater 2019 was marked by a wide array of what seemed like points on a volatile stock market chart marking the ebb and flow of an evolving arts community. Welcome to our annual idiosyncratic highly-subjective look back on the year.
In this post-9/11 time, we ruminate even more than during the Black Plague about the seeming randomness of blind fate or God’s inscrutable will — and wondering is there a meaning to life. Those questions permeate a highly theatrical stage version of Thornton Wilder’s The Bridge of San Luis Rey — much of it re-told in rhyming verse — in an intriguing Miami New Drama production written by, directed and starring off-Broadway fixture David Greenspan.
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.
Viva La Parranda! from Miami New Drama is more than a documentary play. It’s a microscopic and humanistic look inside a Venezuelan town, El Clavo, and singer Betsayda Machado has become the voice of El Clavo. During the lively original musical, it’s difficult to imagine the latest news of a city an hour and a half away, right now, so filled with violence.
It’s Wednesday, March 7, and Billy Corben’s world premiere play Confessions of a Cocaine Cowboy has been in rehearsal for some time with Miami New Drama. It opens the next day for a week of audience previews and script tweaking at the Colony Theatre.