http://havanajournal.com/culture/entry/it_our_isle_seat_on_cuban_theater/

HavanaJournal.com: Cuba Culture

It’s our isle seat on Cuban theater

Posted June 12, 2003 by publisher in Cuba Culture.
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NY Daily News | Robert Dominguez’ Que Pasa

Most people return from a visit to Cuba with expensive cigars hidden in their luggage.

Max Ferra brings home controversial plays.

Ferra, the founder and artistic director of INTAR Hispanic American Arts Center in Manhattan, has made three trips to his homeland in the past four years to research Cuban theater.

While he hasn’t earned frequent flier miles for visiting Havana, his journeys have paid off artistically.

The last two productions at INTAR were plays by Cuban playwrights who gladly gave Ferra permission to stage their work in the U.S. - in English.

“I had a curiosity about what the playwrights in Cuba are writing about,” says the 65-year-old Ferra, who was born in Camaguey and emigrated to New York in the 1960s.

“I wanted to see how the people who are living in that terrible situation were expressing themselves. There were two plays that really impressed me, and I brought them back.”

In March, Ferra produced “Havana Under the Sea,” a musical based on “Santa Cecilia,” a wistful monologue by Abilio Estevez about the ghost of an upper-class woman who haunts Havana, which lays in ruins at the bottom of the ocean.

Currently at INTAR is “Faith Hope & Charity,” a drama by Albero Pedro that puts a new spin on a familiar painting found in many Cuban homes - three desperate fishermen of different races, caught in an angry storm, praying to the Virgin of Charity (the patron saint of Cuba).

In the play, it’s a trio of multiracial women (Maria Cellario, Judith Delgado and Dana Manno) who are lost at sea - after escaping the island in a leaky boat bound for the U.S. And the Virgin (Mizan Nunes) appears in her Afro-Cuban identity, Oshun, the Santeria Goddess of Love and Joy.

Like “Havana Under the Sea,” “Faith” is a highly symbolic work with a strong political message about repression under Communist rule, says Ferra.

“It’s a metaphor for what’s happening down there,” he says. “The women represent the Cuban people, and the raft that’s stuck in the middle of the ocean symbolizes being trapped on an island that’s going nowhere.”

Member Comments

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On November 15, 2004, irina wrote:

How can I contact Albero Perdo?
Irina 305 331 1233

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On June 17, 2009, Rodney Ferrell wrote:

I like musicals but that is not the best kind of Cuban play. I don’t think all this great writing should be called the product of tragedy, when there are examples like Vincenzo LaMarko with the Belasco and incredible workshops creating the most beautiful pieces of writing and artistic integrity this generation has seen. Alberto Perdo is also among those who have created something for Cuban art which is unfair to say comes only from one squallid place.