Salsa Lovers Dance Studio
It all began here in 1993: salsa classes on Monday and Wednesday nights at the spacious and charmingly down-at-the-heels Blue Banquet Hall. By now the place is packed four nights a week, and Salsa Lovers is a huge enterprise, having expanded to two more locations. But the West Miami-Dade scene has a festive, nightclubby quality all its own, and it just keeps getting hotter (sometimes literally; the AC is erratic). Monday through Thursday a large and varied crowd descends on the hall, everyone from senior citizens to families to middle-school students, though the 20- to 30-year-old crowd dominates. The sheer energy generated by hundreds of slaves to the salsa rhythm is irresistible. Some people skip the classes and instead hang out, flirt, or practice moves with a partner. Between classes (three levels, each one hour long, beginning at 7:00 p.m.) the DJ spins a "practice song," and a gigantic circle of couples fills the entire main dance floor, so big the instructors have to call out the turns on a microphone. Oscar D'Leon blares from the speakers, and pretty soon everyone's in a whirl -- dile que no, dame una, hips going and fondillos shaking, abrázala, abanico, arms rising and feet pivoting, montaña, balsero, and sometimes the lights will dim and the tacky disco balls will turn. For seven dollars (price per lesson) you get all this, and you might even learn the paseo por el parque.
In many American political plays, a guy (it's usually a guy) comes onstage and talks. The set, the costumes, the lighting -- they're all window dressing, which helps to explain the sorry state of political drama. Doug Wright's 1995 work Quills, however, dissects the issues of censorship through the trials of the Marquis de Sade. It's a play of ideas, driving home the notion that you can't get rid of art you don't like merely by destroying its author. But it's also a play of images. In the exquisitely designed Florida Stage production, Jim Fulton's lighting design reproduced the Marquis's naughty writing as luminescent streaks across the theater walls. Allen D. Cornell's inventive turntable set gave rise to multiple arresting scenes, not the least of which was the yanking out of the Marquis's tongue. Suzette Pare's costumes smartly outfitted the small-minded denizens of nineteenth-century France as well as the increasingly-more-disrobed Sade. And Scott Burgess's sound design created an asylumwide orgy we could "see," though it happened off-stage. At the helm was artistic director Louis Tyrrell, whose fluid hand and wicked sense of humor proved to be assets the Marquis would have loved.

Best Unguarded Moment Caught On Videotape

Henry Fraind

In his many years as the public face of the county's public schools, Fraind had repeatedly proven himself to be inarticulate, insensitive, and inflexible. When school-board members finally got tired of him making them look bad and decided, at their March meeting, to appoint someone else as their spokesman, Fraind demonstrated the wisdom of the decision by offering an upraised arm and fist -- in the universal gesture for "up yours" -- to a parent who had questioned his salary level. How ironic that the first candid, straightforward, concise statement from this guy, captured by the television cameras that record each meeting, came only on the eve of his removal as the district's mouthpiece.
It's supposed to feel like a little bit of Nantucket down here on the lower peninsula. A fresh and crisp Northeastern respite from the scorching Southern sun. But really the lobby in the new Beach House is Florida through and through. This is no rectangular foyer, stop-over-while-you-check-in type of lobby. Instead you get different lounges with different flavors for different moods, all outfitted (if the blue hue didn't already give it away) by the Polo Ralph Lauren design team. If you enter from Collins Avenue, huge vases of fresh-cut flowers -- usually yellow -- greet the visitor at the entrance, which is decked out in muted blue and white. But no need to dally here. Head for the bright and playful room to the right -- the, well, Florida room. Two walls are windows, with views out to the pool and to the ocean beyond. Lime-green covers the walls; pink, salmon, yellow, green, and blue cover the cushions and pillows on the white-wicker furniture. That may sound noisy but it's not. The colors combine into a soothing balm, light and airy but well removed from the heat. All the rooms are furnished like a bed and breakfast -- knickknacks on the end tables, art books scattered about for a leisurely browse. The main lobby is toned down, furnished in brown wicker with blue upholstery, and trimmed with sophisticated Chinese porcelains and paintings (heavy on deep red and gold, adding an extra-lush touch). From here it's also possible to see the pool area, which really should be considered part of the lobby as well, with its multicolor cabanas, ample seating, and hedges sculpted into sea horses. Grab a drink from the bar and choose your mood: There's no better way to refresh your feeling for Florida.
In a season fraught with top-drawer solo performances (Charles Nelson Reilly in Life of Reilly, Kathleen Turner in Tallulah, Melinda Lopez in Medianoche, and Jean Stapleton in Eleanor: Her Secret Journey), Judith Delgado towered over all. Playing fashion diva Diana Vreeland, the actress delivered a performance that lived up to Vreeland's motto: "Give 'em what they didn't know they wanted." Vreeland's life story garnered 1996 Drama Desk and Obie awards for creators Mark Hampton and Mary Louise Wilson when Wilson starred in it. Elizabeth Ashley did the honors when the national tour passed through South Florida in 1998. Nonetheless Delgado, a genius at transforming herself, turned the tastemaker and long-time Vogue editor into something of her own (and director Joseph Adler's) making. Even the actress's elegant, oversize hands conspired to become a perfect physical match for Vreeland's elegant, larger-than-life personality. It was a performance that reached out and grabbed us by our lapels.
"Have Character, Will Travel." So reads the business card of Daniel Ricker, self-appointed "citizen advocate," who spent the past year attending county commission meetings, city commission meetings, school board meetings, and Public Health Trust meetings, all in an effort to better understand how government operates. He even sat through the public-corruption trial of former county Commissioner James Burke so he could hear firsthand how deals are made at the county level. Why did he do it? Ricker, who made his fortune managing international companies that sell coronary pacemakers, says he became so disgusted with the sleaze and corruption of politics in South Florida that, rather than withdraw into apathy, he became hyperactive in the community. He took a year off work and dedicated himself to his task. A man of limitless patience (a necessary attribute in order to sit through some of those meetings), he says he never became bored and always found the working of government fascinating and important. Simply knowing that an informed member of the public was attending those meetings, watching every move they made, undoubtedly had a sobering effect on Miami's less-than-trustworthy politicians and bureaucrats.
In a county with woefully slim public-transportation options, Miami Beach planners looked out their windows, past the backed-up traffic at the stoplights, and saw the future. It was pretty, environmentally friendly, and didn't cost a lot. The ElectroWave shuttle buses premiered two years ago and have proven to be a wonderfully hassle-free way to navigate the often congested streets of South Beach. And a good thing was recently improved: In April the routes were expanded to cover more city blocks north of the original South Pointe-to-Seventeenth Street loop. Plus the fleet grew from seven to eleven vehicles, and payment options were increased (you can now use your parking debit card to pay the 25-cent fare). The shuttles are completely electric, with propane-powered air-conditioning units. "We are the only all-electric transit system in the country," exclaims Judy Evans, executive director of Miami Beach Transportation Management Association. "We've become a model for other cities."

Last year's winner got even better this year. In Motion Dance Center expanded from its base on Bird Road and is now contributing to the Biscayne Boulevard renaissance with a new studio in a quaint converted house. Local dancers finally get the facilities they deserve, with high ceilings, exposed beams, a wide expanse of mirror, and an enormous floor. Offerings range from staples such as ballet, modern, and jazz to West African, hip-hop, contact improvisation, and the posture-enhancing Pilates technique. During off-hours In Motion instructors and local choreographers use the studio as a rehearsal space for upcoming performances, commercials, and music videos.
Every weekend, particularly on holidays, large numbers of people take to the water. The transformation of these landlubbers into weekend mariners is not always smooth. Add alcohol to the mix, and it can be downright disastrous. At no time is this more obvious than at the end of the day, when they try to move their boats from water to trailer. And at Black Point Marina, they have an audience. Most weekends, positioned on a hill overlooking the boat ramps, are picnickers and beer drinkers who have come to watch the amateurs try to make it home. So established has this pastime become that its participants have earned a nickname: dock ghouls. On a good day, the ghouls' gallery will be witness to boats crashing into the quay, cars slipping into the water, and relationships tanking in public. A weak parking brake or balding tires can turn success into tragicomedy. All too familiar is the sight of macho man, who hours earlier had tried to impress his girlfriend with his fancy boat, but who now lashes out at her in frustration over his inability to get the damn thing out of the water. Add to such scenes the presence of cops hopping from vessel to vessel checking licenses, and you'll have to agree: You cannot buy entertainment this good.
Oddly enough, in an area known as one of the winter vegetable baskets of the nation, it's slim pickings for farmers' markets in Miami-Dade County. Basically there seems to be two options: Pinecrest or Coral Gables. Located in the parking lot of Gardner's Market, the Pinecrest operation offers a feast for the taste buds and a greater selection than its Coral Gables equivalent. If you don't believe us, just compare; you can hit both in the same weekend: Pinecrest is held on Sunday, the Gables on Saturday. In addition to plentiful citrus and vegetables, a variety of orchids and plants can be found. Other vendors sell homemade oils, jams, salsas, and baked goods. Unfortunately Pinecrest, like Coral Gables, is seasonal. It only runs from January to mid-April.

Best Of Miami®

Best Of Miami®