BEST BLACK-BOX PRODUCTION (2002)
Juggerknot Theatre Company
What's the difference between a black box and a full theater? Size, yes. The first is much more intimate. But in the right hands a black-box experience becomes something entirely new. Like when a director decides to ignore the confines of a stage and work with the space as a whole. Like when homegrown writer/director Michael John Garces decides to use Juggerknot's Biscayne Boulevard box for his one-act audiovideo, which blew away just about everything else produced in this town. The other half of the show, land, as well as most stuff performed at Juggerknot, was top-notch, but audiovideo stands alone. We didn't watch actors on a stage. We watched two teenage boys move around our literal and metaphorical basement as they discussed what to do with a lost sex videotape they had made. The directing was so tight, the acting so skilled (bravo to Oscar Isaac and David Perez), the dialogue so clever (the speech is often fragmentary, the boys finish each others' sentences, or let physical acts do the talking) that the audience was left wondering just exactly what they had seen -- that was not simply theater, was it? No, it was simply great.
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