Theater: A Sunday Afternoon
HAVANA TIMES – It sounds like the title of a song, but it’s not—it’s just what happened recently. It was one of those blackout Sundays. They don’t even let us rest on weekends anymore with all these power cuts that constantly disrupt our plans.
I decided to read a book and lay down on the bed, but a friend called and suggested we go out. We chose to see a theater performance, even though we didn’t have the schedule for any of the theaters.
We left at 2 in the afternoon, walking toward Vedado, where most of the theaters are located, partly to take it slow and talk about our experiences and things that interest us. We first arrived at El Ciervo Encantado’s venue, on 18th Street between Línea and 11. It’s a project directed by Nelda Castillo. This group does experimental theater, blending performance elements with a perspective that highlights social and often dissident themes—a novel mix aimed at an audience receptive and capable of understanding a collaborative effort between visual arts, music, literature, and dance.
That venue was closed.
Next, we went to El Publico’s headquarters, at the Trianon Theater, home of Carlos Diaz’s theater company. The last play I saw there was Requiem for Yarini. There was no poster out front either. We assumed the company must be rehearsing a new production.
On the same Línea Street, we found the Raquel Revuelta theater, named in honor of the great actress of film, theater, and television. This venue, too, was closed.
We reached the Adolfo Llaurado Theater, a small hall on 11th Street between D and E. It’s also named after a formidable actor. I remember one particular play directed by the late actor and theater director Alexis Díaz de Villegas with his group Impulso Teatro, a version of Woody Allen’s Play It Again, Sam, titled Sueños de un seductor (Dreams of a Seducer). I really enjoyed that one, because I love everything by the US actor, comedian, writer, and director.
We didn’t make it to the Hubert de Blanck Theater, though I believe the company is currently touring the provinces.
We thought about going to El Sótano, where the Rita Montaner company used to perform, but then I remembered the venue is under renovation.
Finally, we arrived at the Bertolt Brecht Cultural Center. This place used to be the Bertolt Brecht Political Theater in the last century, something that made a mark and left a legacy. Later, it became a cultural center, hosting frequent concerts, including jazz bands. Here, Jose Antonio Rodriguez premiered Open Couple, with Ana Lidia Mendez. Written by Franca Rame and Dario Fo, it’s about a sui generis relationship in a modern marriage.
We didn’t know what to watch; two plays were showing, and we ended up choosing the one at the Tito Junco Hall, on the upper floor.
Maybe it was the title that intrigued us: This Train Is Called Desire. Written and staged by Iran Capote and directed by Aliocha Pérez. The group performing it is Teatro Rumbo.
I’ll admit: adapting the original A Streetcar Named Desire by Tennessee Williams, considered by many his masterpiece, was a bold and completely misguided decision. Especially placing it in a Cuban context, in a country where decay is growing and hope is crumbling, only deepening the pain.
There was no need to do this, since the play already takes place in a marginalized neighborhood, and didn’t require further emphasis on poverty and lack of resources among the most needy.
Let me tell you that the character Blanche DuBois is a tormented woman who has lost all her possessions and comforts; she has fallen very low, even making porn videos with young men.
Also embarrassing was the use of obscene language (“pinga,” “singar”) constantly spoken by the male character, named Marlon here, in reference to the US actor. I think vulgarity can be portrayed in many other ways.
However, it’s a shame that the talents of the four actors, each of whom stood out in their respective roles, were wasted.
And so ended my Sunday afternoon, with a failed play.