Tag Archives: Michel Hausmann

Miami New Drama’s 7 Deadly Sins Is A Singular, Year-defining Theatrical Experience

It was only a matter of time until one of South Florida’s most experimental companies would find a way to produce theater outside of a theater. Nine months into a pandemic, the sheer existence of Miami New Drama’s experiential short-play collaboration 7 Deadly Sins feels as surreal as it is miraculous.

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Seven Deadly Sins Is Return To Live Theater In Miami

Nine months into the country’s battle against COVID-19, Miami New Drama and its boundlessly imaginative artistic director, Michel Hausmann, have figured out a way to turn vice into virtue, exploring the seven deadly sins in an ambitious return to live theater beginning Nov. 27.

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Racism & South Florida Theater: Changing The Dance Steps

Asked to spotlight specific problems and potential solutions, everybody had a story of racism infecting the South Florida theater community. Some cited unintentional micro-aggressions in pressure-laden rehearsals. Others underscored systemic failings whose reform will require leaders, supporters and audiences to revaluate everything from what goes on stage to who decides what goes on stage.

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Act Two For SoFla Theater: A 2-Part Portrait One Month In

PART TWO: One month into the nation-wide shutdown of live communal theater due to COVID-19, South Florida companies, like those in so many other regions, are trying to write Act Two with little clue how Act Three will play out. In this first of two parts, leaders from local companies and venues a limn this tale of confident hope and chilling fear, cold balance sheets with seven digits in the red, and blue sky imagining what theater will look like in two, three, 18 months.

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Act Two For SoFla Theater: A 2-Part Portrait One Month In

PART ONE: One month into the nation-wide shutdown of live communal theater due to COVID-19, South Florida companies, like those in so many other regions, are trying to write Act Two with little clue how Act Three will play out. In this first of two parts, leaders from local companies and venues a limn this tale of confident hope and chilling fear, cold balance sheets with seven digits in the red, and blue sky imagining what theater will look like in two, three, 18 months.

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Miami New Drama Tunes Up Debut Of Wonderful World — A Louis Armstrong Bio-Musical

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.

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From Carbonells To Theater At Large, Is South Florida Serving Its Hispanic And Black Artists?

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.

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‘Cowboys’ Confessions Tells Of Magic City’s Not So Golden Days

The world premiere of Confessions of a Cocaine Cowboy, a fact-based but stylistically executed play at Miami New Drama from filmmaker Billy Corben and screenwriter Aurin Squire, captures Miami’s drug-obsessed past through the eyes of a hitman.

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Filmmaker Billy Corben’s Cocaine Saga Is Now A Theater Piece

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.

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Queen Of Basel Reimagines Miss Julie in Modern South Beach

Amid the rise of the #metoo movement, the surprise in the new play Queen of Basel, subtitled “Or an unapologetic response to Strindberg’s Miss Julie,” is just how closely this modern-day riff still echoes the sadly timeless themes of the 1888 original. But Hilary Bettis’ script, expand and dig deeper into Strindberg’s naturalistic examination of a war between the sexes mingled with a war of economic class distinctions.

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