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The Miami Herald from Miami, Florida • Page 36
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The Miami Herald from Miami, Florida • Page 36

The Miami Heraldi
Miami, Florida
Issue Date:
Extracted Article Text (OCR)

"fT TTTT V'T nyiy nyroqroyRyB niyiry yi fr" f-yyy I rr TT'1 'T I "yTfrn" tH'W i 8C THE MIAMI HERALD TUESDAY DECEMBER 18 1990 A burst of brilliant Spanish dancing DANCE REVIEW juxtaposes classical Spanish movement against romantic Rhapsody on a Theme of Paganini Silly to complain about an embarrassment of riches Each half of the program built to its own finale the first half to a spirited flamenco buler-that featured four dancers statuesque (who used a completely unnecessary microphone) the company attacked this peasant dance with a weighty wild abandon To make up for a lack of men some of the taller women wore pants with their espadrilles They and the four men Raniero Daza Ulises Daza Manolo de Cordoba and especially Richard Sullivan sheared into the air like blades on a scissor bringing body and legs rapidly together If there is any weakness in this troupe it is in the lack of depth in the men De Cordoba who dances locally in tablaos does not match the clarity of footwork strength in the back and emotional nuance of Masdueilo and Mercedes The other three men although facile movers are not yet fully trained Spanish dancers (Sullivan is making rapid progress) By LAURIE HORN Herald Dance Critic A cascade a waterfall an avalanche of brilliant Spanish dancing exploded on the stage of the Colony Theater in a weekend concert by Ballet Espaflol Rosita Segovia After meandering between school and professionalism for a number of years the troupe displayed a broad and definitive mastery of traditional Spanish dance forms all performed with joy clarity and intensity by young beautifully trained dancers If financial support can be found to keep these dancers here and if Segovia as artistic director begins honing in on what she wants to say the troupe looks forward to a wide reputation in both the United States and Spain choreographic facility and vast experience in Spanish dance showed in every aspect of program which presented a huge diversity of styles in an almost overwhelming two hours and 15 minutes of dancing Thirteen short works all exquisitely costumed and almost all brilliantly executed followed one upon the other Because they were so short and so many it was difficult for a viewer to savor individual artistic moments the complete mastery of lead dancers Rosa Mercedes and Miami-trained Cristina Masdueilo for example or the full impact of Estudios which Elizabeth Camilo tiny Diana Diaz Masdueilo and Mercedes in solo takes of graduating intensity Both Mercedes and Masdueilo hit that transcendent moment in flamenco when a soul seems to emerge into an orb outside her body creating an extraordinary spontaneous synchronicity of rhythmic pattern (feet) body line and emotional projection By the time the nine dancers and two musicians entered the full bulerias the whole company was infected with in words a fearful symmetry The second half of the program passed through a section of La Vida Breve a sultry Cuban-influenced flamenco guajira and the exuberant jig-like step dancing of a red-bereted Suite of Basque Dances on the way to another huge finale the Aragonese jota from La Dolores Dancing in interludes alternating with the round singing of round tenor Armando Terron FILM FAMILY: John ravolta and Kirstie Alley play parents of two The whole production was fabulously costumed in architectural Spanish ruffled dresses beautifully colored shawls and detailed accessories made by a host of people Expert flamenco guitar and singing by Paco Fonta and A Marin held the live musical fabric together But once again the inadequate sound system distorted the taped music so hideously that one was tempted to cover ears Dancers complain too that the hard floor is murder on stamping feet When will Miami value dance enough to pay for proper theaters? Too: a soulless sequel FrlOViE REVIEW LOOK TALKING TOO (PG-13) At Soviets to see read Russia House JOHN TRAVOLTA KIRSTIE ALLEY MIKEY'S BACK WDAIiOl ro FACE HIS GKfATKSri II AUKVil Ills NEW ISAIST SISTER Cait: John Travolta Kirstie Alley Olympia Dukakis Twmk Caplan Director: Amy Heckerling Producer: Jonathan Krane Screenwriter: Amy Heckerling Neil Israel Cinematographer: Thomas Del Ruth Music David Kitay A Tri-Star Pictures release Running time 81 minutes Adult themes language Los Angeles Times Service The Russia House is headed for the country that inspired it While MGM gets ready to release Russia House in the United States on Friday the distributor is working on plans for theatrical distribution in the Soviet Union of Pathe film adaptation of John le spy novel is and MGM yet discussing details says a spokeswoman Meanwhile le book will be published in the Soviet Union for the writer his agent says Also something of an irony: The novel revolves around a dangerous attempt to smuggle a book of military secrets out of the country for Western publication Now being translated Russia House will be excerpted in two Russian literary magazines according to agent Amanda Urban Meanwhile although commerce with Cuba is forbidden under US trade restrictions producer-director Sydney Pollack took Havana with him when he left last week for a screening at the Latin American Film Festival in the capital city LO0M1M ULKINGIDO tki rk i A TRi-STAR Pictures tic AuRKiHTbrtlalHrftO UWIVtRSAL STUDIOS CAll (-07) 363-8000 course to devote screen time to those adorable children who speak in the dulcet tones of Bruce Willis (Mikey now nearing the terrible twos) and Roseanne Barr (the fittingly grumpy newborn Julie) One of the reasons the talking-baby device of the original worked so well was that Heckerling used it sparingly In Too baby-speak emanates from every frame and quickly wears out its welcome Although Look Talking Too lasts only 81 minutes direction is so heavy-handed and cloying that the film seems longer than Doctor Zhivago To call this film infantile would be too kind to call it embarrassing would be accurate By RYAN MURPHY Herald Staff Wriler Look Talking Too doesn't have a tail four paws or a cold wet nose Nonetheless a dog A continuation of Look Who's Talking the sleeper smash of the fall of '89 that grossed more than $100 million Too has none of the romantic spirit and sweetness that made the original so endearing It barely in fact has a plot line Director Amy Heckerling has whipped up a banal entirely soulless cinematic concoction whose main ingredients are vulgar bathroom humor (there are at least two dozen references to poo-poo and pee-pee) and bothersome Mr Ed baby tricks which the mouths of poor toddlers and infants are manipulated to produce overdone talking effects is the operative description here The sequel comes an amazing 16 months after the original and the rush job is quite apparent Not a movie but a series of videos in which the characters bop around mindlessly to pop tunes (some of which strangely are decades old) Look Who 's Talking Too has a greenish cast to it: It was designed clearly to cash in on the popularity of the original Too begins exactly like its predecessor: Rambunctious sperm squig-gle their way down female lead Kirstie fallopian tubes in search of a promiscuous egg But after that all comparisons end Alley and John Travolta had won-derful-to-watch chemistry in the original but this time relegated to sideshow status and when they're together finally married) they squabble like the Bickersons The reason for the fights: toddler Mikey and new arrival Julie James it seems uptight Mollie is raising their kids wrong as protective as Piper Laurie in Carrie and he prefers a looser approach The cliche culminates with Pop splitting and Mom drowning her tears in romantic VCR staples (cue montage music) the better of BEST BUDDY COP MOViE OF THE YEAR Fat Coffins WWORTV sF EXPERIENCE THE PLAYHOUSE TAKE A CLASS! 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