Melt:Some of the finest actors in South Florida (Stuart Meltzer, Sheaun McKinney, et al.) star in this world premiere of a play by one of SoFla's most beloved theatrical polymaths (Michael McKeever) in one of Miami's loveliest, most intimate venues (New Theatre). Michael McKeever's play is an examination of the strange commingling of values, traditions, history, and heart that lies at the root of Miami; a portrait of three families one Jewish, one Cuban, and one African-American whose stories interweave and eventually become one. Ricky J. Martinez directs; John Felix, Sheaun McKinney, Stuart Meltzer, Javier Siut, Marta Velasco, and Tara Vodihn star. Brandon K. Thorp Through May 6 at New Theatre, 4120 Laguna St., Coral Gables. Call 305-443-5909, or visit www.new-theatre.org.
Samson et Dalila: Camille Saint-Saens's most well-loved expression of his wild terror of women still packs houses with regularity. In the hands of Florida Grand Opera, it is eminently worth seeing, though maybe not for the reasons Saint-Saens had in mind.While originally intended as a demonstration of a pure musical aesthetic, now Samson et Dalilais simply a very beautiful noise. Try to draw great meaning out of it and you're in for a boring night. Take it as an aesthetic triumph, as a moment of sonic and visual beauty and of passion deftly given voice, and you may leave the theater breathless. Samson et Dalila is a fine vocal showcase, but the true highlight of Florida Grand Opera's production may well be the production itself. The scenery on display at Florida Grand Opera is uncanny: temple steps that seem to stretch hundreds of yards into an infinite desert; Dalila's psychedelic prehistoric shag-pad; an epic and singularly depressing millstone; the Philistine's Temple of Dagon. The sets are utterly seductive: In the Temple, the Philistines go crazy in a balletic orgy to the strains of "Bacchanalia," while Samson stands eyeless in Gaza, looking glum. So alluring is the scene and so entrancing is the music from the massively enthusiastic (if underpowered) orchestra, that most modern operagoers will find themselves siding with the Philistines. Brandon K. Thorp Through May 6 at the Carnival Center for the Performing Arts, 1300 Biscayne Blvd., Miami. Call 800-741-1010, or visit www.fgo.org.
Golda's Balcony: In terms of steely resolve, Golda Meir made most great people of the Twentieth Century look meek. Over the years, many folks and especially the blame-Israel-first crowd have assumed she was either a heartless ideologue or some kind of blood-sucking Zionist vampire (and then, crazily, certain actual Zionist vampires accused her of wimpiness). In fact she was a tough old broad with a profound emotional commitment to justice and peace, outweighed only by her obsession with survival. William Gibson's Golda's Balcony explores the dark place where those dual allegiances clash. Though it's a one-woman show, Lisa Morgan's portrayal is big enough to summon up the country she fought for, and her wrestling with hard questions of war and capitulation is so anguished that you can almost feel lives winking out of existence when, at length, she makes up her mind. Directed by Joe Adler. by Brandon K. Thorp Through May 20 at GableStage, the Biltmore Hotel, 1200 Anastasia Ave., Coral Gables. Call 305-446-1116, or visit www.gablestage.com.