A renowned celebration of theater world-wide returns this month to South Florida with the 40th edition of the International Hispanic Theatre Festival of Miami.
The event features 12 pieces ranging from epics to comedy to dramas to immersive theater to a unique reimagining of Hamlet, all in Spanish but some with English supertitles. Performing companies and scripts come from Uruguay, Chile, Spain, Argentina, Perú and the United States.
The works will be performed at the Westchester Cultural Arts Center, the Adrienne Arsht Center and Koubel Cetner at Miami-Dade College.
A complete list, details and tickets are available https://ihtfmiami.org/es/ . Some shows have talkbacks after the performance.
A sampling of shows sponsored by event organizer Teatro Avante include:
Carrusel, Sept 3-6: (From the United States) A teenage girl violently attacks her classmates. As her grandfather and legal guardian, her teacher, and a doctor try to understand the reasons behind her disturbing behavior, they uncover a past that reveals secret connections among them—ties that will shape their destinies in a country that has only recently returned to democracy.
Zombi Manifiesto, Sept. 10-12: (From Uruguay) The corpse of a military officer disappears following a clandestine exhumation and kidnapping. A model bureaucrat demands a dignified burial. Then the dead man himself appears, demanding justice.
Odd Man Out Sept.17-19: (From New York) An immersive sensory experience that awakens the senses and the imagination. Audiences have the opportunity to experience the story of a blind musician through sound, smell, taste, and touch, all in complete darkness.
Hamlet: Sept.24-26: (From Peru) A group of people with Down syndrome takes the stage to share their aspirations and frustrations through a free adaptation of Hamlet. The play weaves together Shakespeare’s text and the actors’ own lives, taking as its starting point the question the play poses to us about existence.
A Fuego / By Fire: Sept. 11-13 (From Spain) In this monologue—written entirely in verse and rich in satire, wordplay, and metatheater—we witness how the protagonist’s fascination with a shepherd setting fire to a Greek temple gradually spirals into obsession, driving him to commit a crime on par with that of his infamous idol. Shifting between characters, the author-performer mocks his own megalomania, inviting us to reflect on the pervasive narcissism of our times and the innate human desire to leave a mark—whether through artistic expression, a trade, a revolution, or a criminal act.
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