The Best Theatrical Shows of 2019 (+ PHOTOS)

This has been a year of great scenic events in Cuba, so it’s hard to choose ... but these are the ten best shows of the year, according to critics.

Theater and dance critics, together with several specialized journalists, all members of the Cuban Writers and Artists Association, have chosen the ten most significant shows of the year.

Obviously, regarding art every selection is subjective, but each of these proposals holds worth
​​that distinguish them. We collected the opinions of the critics. And we invite you to make your own list.


This was, unquestionably, the greatest piece of news in the most recent Theater Festival: The German Berliner Ensemble, one of the most famous companies worldwide, presented at Martí Theater a work directed by Michael Thalheimer of Bertolt Brecht's The Caucasian Chalk Circle.

Critic Omar Valiño said: «When Brecht opened in the 50’s The Caucasian Chalk Circle was already controversial, inside and outside Germany. But this play consolidated him as a huge theatrical creator, an unavoidable reference of theater. And, if you pay attention to the script, it is still sharp today. This staging was premiered in September 2017 and approaches so-called sacred conflicts, and not debatable, about property and its rights, in Brecht's great parallel around blood and family rights. An eternal themed landscape seen with radicalism. I’d say bitter, and somehow more perverse, in today’s world, something that Berliner and Thalheimer know well and propose.


The Spanish Javier Aranda also appeared at the Theater Festival with his show Vida. The attendance of the audience made necessary to schedule a few more shows. Frank Padrón reviewed:

«The Spanish Javier Aranda (who owns his homonymous company) won enthusiastic and unstoppable applause with his Life, where the hands of the theatrical player are the true main character; with them, traveling through childhood, to a basket from which his mother took out her needlework, human beings, animals, diverse figures materialize that shows a unique and perfectly mastered technique thanks to which Aranda creates incredible situations and conflicts, aid by the soundtrack and the lights ».


In the skeleton of a whale, a work of Eugenio Barba for Odin Theater was also an event. Mercedes Borges Bartutis quotes:

«In the skeleton of the whale, parable of Kafka’s text Before the Law, “tells the story of a farmer who by submission and obedience doesn’t dare to cross the Gate of the Law. Within this theme, the work weaves metaphysical and nihilistic cravings, alternative plots and dark apocryphal versions of sacred books. Despair disguises itself as hope, and spiritual extremism assumes the appearance of a mocking skepticism. The public space of the theater changes into the paradoxical space of a shared loneliness”».


Las Estaciones Theater has won many, many Critics Awards. And this year has not been the exception. Their show Everything in Life is Singing (directed by Rubén Darío Salazar) is a tribute to a beloved singer-songwriter, Teresita Fernández.

Sergio Jesús Martínez Villalonga wrote: «For the public it’s a rebirth of beauty, of the deep singing, the discovery of what’s essential which is invisible to the naked eye, to the teaching of the song. This work of the talented theater team, now expanded with the cast of guest actors and musicians, will remain in our memories as something unusual. Live music, the number of characters and musicians on stage and, above all, because it’s a concert of affections for an absent and somehow forgotten singer ».


With Infinito, Susana Pous consolidates a poetic for her group My Company. Yuris Nórido comments: «A solid work, filled of images and metaphorical implications, without making that "burden" obvious. However, there is clarity in the speech: anyone can feel identified with the desires that move one or the other of the dancers. And frame by frame, a story is developed that is not seeking to be Aristotelian, although it’s possible to explain. The density of the speech never becomes overwhelming, because the choreographer alternates tempos and compositions, backed up by the inspired designs of scenery and lights, which are not just gears ».



This is a truly novel show for the Cuban scene: The Clemency of Titus, by Mozart, staged by Carlos Díaz with the integration of singers, dancers, Choirs and Orchestra of the University of the Arts, Schola Cantorum Coralina, the Otrolado Company, and orchestral direction of José Antonio Méndez Padrón, with general direction of Ulises Hernández, for the Mozart Habana Festival.

Frank Padrón wrote: «The result has been more than satisfactory, from that orchestra which belongs to such institution under the baton of Jose A. Méndez: a solid soundtrack that brought cohesion in all its sections, with the strings designing the atmospheres and twists of the story; dressed by the original Celia Ledón, the musicians wear the tunics and wigs of the Mozartian court in the 18th century (with a Yoruba wink in the case of the orchestral director) while the rest of the characters, some transvestites according to Díaz's poetics , they bring the allusive target to the virtues of the protagonist who at the same time metaphorize the aesthetic conception of the speech».


Oficio de Isla, work of Osvaldo Doimeadiós, produced by the National Council of Scenic Arts and the Humor Promotion Center, had a unique summoning at one of the docks in Havana. Marilyn Garbey affirms: «Venturing into a large-scale creative project, where artists from different specialties and in large numbers participate, in an unusual space for doing theater, is great achievement. Doimeadiós, the director, was able to summon so many people from different ages and backgrounds to come together in a creative act. His performance here corroborates his acting maturity and his responsibility as director of the megaproject that proposes to reflect on who we are and where we are going, as human beings, as a country, as planet Earth; deserves every possible praise ».


Abel González Melo, critic and playwright, assumed the direction of The beginning of Archimedes, by Josep Maria Miró, for Argos Theater and Los Impertinentes. Omar Valiño says: «A too suspicious symmetry looking at a mirror between one side and the other, and highlights with small changes every time the "repetitions" of the story, a brilliant resource with which the author spirals back in the story as if he wanted to explain it better. Several resources, in the end, of script and staging, to relativize in a minimalist fashion, as in the unavoidable and achieved acting, how events could have happened or how we can recognize them. Without skipping, of course the Archimedes principle:
A floating object displaces a weight of fluid equal to its own weight.


It takes place on Sunday, staged by Raúl Martín for De La Luna Theater from the text of Anna Burzynska, premiered in 2018, but with a long season in 2019. Frank Padrón comments:

«In the reading of Raúl Martín and his De la Luna Theater, the cyclic structure of the story is privileged, the dialogues that seem to represent the snake biting its own tail and the suffocating atmosphere of a world closed and with no ways out. Hence the great spider web on the stage, in a house that is no longer a house, however, a home, is deeply involved with the essence of the script. This is definitely another outstanding point in the career of De la Luna Theater».

Intimate MARTÍ

And the list closes with a show that has moved many by the immensity of the reference: Iron, script and direction of Carlos Celdrán for Argos Theater. Norge Espinosa said:

«With Iron, is José Martí who occupies the central discussion. And I mean discussion because that is what this show proposes, of almost cinematographic tempo, elaborated with minimal and key resources. Deconstructing Marti, freeing him from the weight of badges and coined phrases, to bring him closer to his humanity, and to the contrasted vision that his personality could stir among his contemporaries, like an echo that still challenges us and encourages us. Through scenes of his life in the United States, we see the author of Our America put his body in crisis, his high sense of self-sacrifice, his ideal about a Cuba that he glimpsed through the clouds and lights of his flaming speech; while clashing over and over with the routine of the everyday life and the duties of his role as father, and political man, before the ostracism of men».

The Villanueva Awards for the best Cuban and foreign shows presented during year 2019 in our country were chosen by vote of the members of UNEAC’s Theater Critic and Research Section, the representatives from Tablas magazine and the Cuban branch of the International Association of Theater Critics.

The awards will be delivered at Villena Ward of UNEAC, next January 22nd, on the Cuban Theater Day.

Jorge Enrique Caballero: Theater is what makes me feel alive

We talk to this Cuban actor who played the roles of a lawyer in De amores y esperanzas, militiaman in Lucha contra bandidos, Brindis de Salas or impersonated Kid Chocolate on the stage…

He did not plan to study acting. He registered at ISA School (Higher Institute of Art) just for fun and with his self-esteem at his peak he auditioned in singing because “he sang like Benny More.” He recalled everything with a smile on his face and thanked Maestro Armando Suarez del Villar, who showed him the way: “Go to the theater school. Bold people like you usually audition there.”

Stellar Corina Mestre was his second and final discoverer. The first year was tough. The young man from Cayo Hueso improvised in the exercise he did not feel ready to face: standing ovation and the special congratulation of the stellar actress who, of course, was laying low. In a private conversation, she gave him a hard time and he denied everything. But he ended admitting she was right. From that moment on, Corina Mestre became his professional mother in the acting world.

-You have made the leap into almost all languages and media. What is your favorite?

-I feel comfortable in the film industry. Cinema is the perfect place for me as to comfort while working. It is the space where cameras and the special caring in the production process target the actor, who is certainly the final and principle image.

“But my passion for theater, devoting myself to theater…, which is not comfortable at all: it is the mislabeled Cinderella of the arts, when it has been the Mother of Arts. I strongly believe it is uncomfortable to do theater. It is complicated, not only economically, but also physically and mentally. There is always enough room for critics and they hurt sometimes after all the sacrifice you make. That is why I say I feel comfortable in cinema, but I definitely love theater. Theater makes me feel alive.”

-What about television?

-I respect television for everything it takes away from you, your privacy. I believe television has both positive and negative implications. You experience wonderful things, but also terrible ones.

-Is there any special character in your acting career?

-I have a soft spot for these two characters of the theater trilogy Ritual cubano, a stage play I am doing with the theater group Buendia, under the direction of Flora Lawten and Raquel Carrio. I have special love for Kid Chocolate and Brindis de Salas; they are characters with whom I have found very strong connections as a human being, as a Cuban man, as son, artist, and I am having a lot of fun. We recently finish a theatrical season and I loved to go back to those characters with all my strength and passion…

-Are you already working on the third part of the trilogy?

-I am on it. It is named Voces de 1912, and as the project was named Ritual cubano, theater has certainly a lot in common with rituals. Cuba is a nation where generally speaking, ritual traditions are preserved. In the stage play, as a result of a ritual, the voices of all the people slaughtered in 1912 in the Independientes de Color’s incidents under Jose Miguel Gomez’s administration emerge from the land. I am having a hard time assuming this stage play, and play it from the research, where the core is the ethnic and racial conflict, the conflict within the race, different stances. Live music is performed in the first two shows. I am going to take up stage elements as well. This trilogy is linked from the concept to visuality.

-You have embraced different roles in this project: drama, co-direction, acting…Do you feel Ritual cubano has made you grow?

-It is more than that. I think the project itself has grown. A lot of people know and are linked to it, somehow. I have now more responsibility and commitment. Instead of a chair to sit and boast about it, I have now a lot of responsibility and commitment and I am fine with it. I think it is very positive.

-You always show gratitude to the teachings of Eduardo Eimil, Eduardo Arrocha, Raquel Carrio, and especially, Flora Lawten. What does Buendia theater group mean in your professional career?

-As student, the doors of Buendia were close to me. I loved that theater. A sort of show that would invite the audience to think and that is the ultimate goal of art. One of the actresses called me to work in one of her plays. Flora saw me and then I was given the chance and did the casting. Since the very first time I stepped on the stage and got Flora’s suggestions, I became definitely another man. I say I found my treasure. I found what my body and mind just needed.

-What kind of character do you like to impersonate?

-A character with a story to tell, a motive. If I play a character, I want to tell something through him. That is what I like: Whenever I read my part and find out what I could tell, I just move forward.

-Regarding one of your recent works, the spot for the campaign against the Helms-Burton Act, What is your view on reactions?

-I have been under attack; personal attacks, but especially Fernando. He is a classy man and that one of his many qualities. He just taught me there are attacks that need no answer. I am really happy to be part of it. There have been lots of open, sincere, bold reactions. I told someone once: If you like, you may come and be part of the process; if not, at least, respect those who try to improve and change.

“Another element: I know great actors who do not live in Cuba. I truly regret they are not here because Cuba needs them. But everyone is responsible for his/her own actions and I respect that. And I still admire them, nonetheless. But giving up on acting hurts and time passes by, and the pain grows. And many of the criteria are triggered by such increased pain.”

-Are satisfied with this work?

-I am coherent with what I say and do, and believe. To me, having participated on that spot against the Helms-Burton Act…First, I am a Cuban citizen living in Cuba, whose career, family are here and Cuba is part of me. Hence solutions must be found by us. That is my opinion. If France were responsible of the Helms-Burton Act, I would be against France, then. It is not personal. The thing is that the problems at home must be solved by us, not someone else.

“The campaign is well-done. Sincerely, you can count on me if there are other campaigns of this kind even though there may be critics. I see the will to move forward. So I am in through what I do best, theater.”

Translated by Sergio A. Paneque Diaz/CubaSi Translation Staff

THIS SUMMER: to the Theater!

And it is certainly a wonderful choice to provide our kids with colors, joy, and spiritual growth in these summer months.

The advantages are many. But once we opt for this healthy entertainment option, which also adds intellectual exercise and learning to its several virtues, everything happens indoors (something to consider to avoid Cuban hot summer).

Indeed, it is an economic option as Cuba has very low prices for theater performances. As Chaplin once stated, they are like a smile: littleit cost in the giving, (…) but made the day worth.” Smiles trigger, for instance, happiness, good vibes, affection, and creativity; not to mention the number of performances taking place in the streets, parks, and museums.

Unfortunately, theater shows are not usually promoted. However, career theater men always find a solution and let us know. Some proposals are promoted in the social network or websites such as La Papeleta. Thus, if you have internet service, visit and check the proposals.

I give you a couple of suggestions. This goes specially for moms from Camaguey. The campaign “D’Luz Teatral” will be performed in different communities of the provinces these days. How did I know? I googled it. But you can find more clues in “real life.”

Teatro Estaciones —about to turn 25 years old— proposes the upcoming weekend Retrato de un niño llamado Pablo, in Matanzas. This is a play children love a lot and adults are left wondering if they must visit a psychologist to adjust our ability to dream. How did I know? I visited Pepe Camejo Hall and I saw the program. This is also a good way to know.


In Havana, the digital guide La Papeleta announces Para subir al cielo se necesita…, by Theater of Puppets Okantomí at the Cultural Center Vicente Revuelta and right there, Aire Frio’s Cuando los gigantes aman. Here is brief summary: Giant Arnoldo lives in a typical Austrian village. He is very sad because he believes he is the last of his kind but…This is a theatrical adaptation made by Eduardo Eimil from the homonymous Folke Tegetthof’s tale with the artistic direction by Yuniel Hernandez. Eduardo Eimil is the general director.


That’s it, seek and you will find for sure. I am pretty certain other proposals will come up like Habana Titiritera, by Teatro La Proa, August 5-11, with the attendance of more than two dozen Cuban and foreign Theater Companies.

Venues: Teatro La Proa, El Arca, and the alternative hall of Teatro El Arca (the third floor), Casas de Mexico, Africa, and Guayasamin.

Translated by Sergio A. Paneque Diaz / CubaSi Translation Staff

Cuba Announced 4th Latin American Monologue Festival 2019

The 4th Latin American Monologue Festival will be held February 12-16, 2019 in the Cuban province of Cienfuegos (center-south), organizers announced.

Twenty plays by theater groups from Uruguay, Argentina, Costa Rica, Brazil, Colombia and Cuba will be performed in the emblematic Tomas Terry theater in that Cuban city.

The festival is sponsored by Casa de las Americas and the national and provincial councils of the Performing Arts and includes in its program the award ceremony for Best Staging, Best Actress, Best Actor and Research.

There will also be workshops and lectures on various issues.

Some of the monologues confirmed include Memories of Pichonne (Costa Rica), Olympia (Brazil), and The Tiger's March (Mexico), among others, according to the newspaper Granma.

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Carlos Díaz: "Theater has to be Taken Care of, Although is Non-Profitable"

On celebrating on March 27th the world theater day we offer our readers this interview with the Cuban Carlos Díaz, director of El Publico Theater and National Prize for Theater.

Cuba has had great examples in this artistic expression. Which of the many ways of making people feel have you learned more as a creator?

"Each time has its unique artistic expression, its sweet side and its bitter ones. I officially appear in this world in the 90’s, when little theater was done. It was already the endless economic crisis and it reigned the concept how long will it last, but I believe I did the best of my career back then, like La niñita querida (The Dear Little Girl), a staging of Virgilio Piñera with which I won the admiration of many people.

"I thank that success and the later one to Roberto Blanco and his company Irrumpe. I had the chance to be his assistant after I graduated of Theater and Drama at ISA. I did everything there: costume design, scenography; to make rehearsal plans and production… I Learned what should be done and what not. I am very grateful because they gave me the training to dive into theater."

You have been one of the loved ones and, at the same time criticized for the audacity of your plays. Do you believe the Cuban theater of this time needs that audacity?

"I believe that audacity is there and it’s necessary to practice it. If we don't go through there it’s like we had problems to breathe. When, regarding art, you push your boundaries, how much one can say and if the receiver is happy watching your proposal.

“There are people who come to theater and, before asking who is the author or actors, they ask if there is nude in the play. It’s the same as going to Coppelia Ice-cream parlor and ask for almond and they reply: No."

Which do you think is the way to walk by this art and its main characters in what follows?

"It’s your time to struggle young people, the youths, for technology. It’s important that every day there are more social networks, more computers; bridges to reach the moon and go camping people spend holidays in Mars… But theater is too hard to eliminate, despite its old age and craft.

“You must be next to Chekhov when he says that it’s necessary to work every day."

That old theater could be in crisis some may think. What is going on that people don’t fill theater rooms anymore?

"Theater must be taken care of. It’s a luxury to work in it, it belongs to chosen ones. It feels like one is in Mount Vesuvius, although you don’t earn a penny. You feel very happy.

"Not all rooms have problems with the public. Each company should take care of what they do to keep their audience and filling their room, not just during the Festival season.

"Today people rather stay facing a cell phone screen or a computer. But that is impossible with theater: you cannot take home the entire staff so that they make the representation of a play.

"We were recently in New York, at the event "Bajo el radar" (Under the radar), with Antigonón, an epic troupe, and a friend, Armando Correa, current editor for People magazine in Spanish, he gave to four of our young actors tickets to Broadway to watch The French Girl, starred by Uma Thurman. Having such talented actress on stage, right in front of you, it’s a luxury you only find in theater; otherwise, you must seek a movie where she stars in El Paquete (The package).

"On the other hand, having a theater like ours is a privilege, because in the developed world it’s more complicated the existence of so many groups, it takes many resources. Our economy is not fit to sustain this utopia for too long, but let’s enjoy it while it lasts."

I was talking about technology. Do you consider it, next to the new media (Internet), enemy of the theater?

"No, nothing as new and young that struggles for the image can be an enemy. Enemy is the intention of allotting money to achieve something unhealthy, but the social networks help a lot. There is already a generation that could not live without Facebook, Twitter, Instagram… and we must also get to them.

"I am a director who loves visuality. I believe more in the power of an image than in a text. A sentence can lie, an image cannot. That’s why I use audiovisual elements, for example, in Antigonón… The mixture of artistic specialties becomes new languages in the practice of what you do."

Which are your expectations with El Publico Theater, especially when you are no longer directing it?

"I still have some projects left. I still have to do the Orlando, of Virginia Woolf, but El Publico will always exist. I will appear eventually and unleash hell if I don't like what is going on! "

Cubasi Translation Staff / Amilkal Labañino Valdés

Casa de las Americas in 2018

Cuban cultural life will be marked in January by the Literary Prize of this prestigious Cuban cultural institution.

This is how it will begin, as every year, its program in 2018 that will also include, among other proposals, the Musicology Prize, another edition of its Colloquy on Women, as well as the intense days of the Latin American and the Caribbean Theater Season Mayo Teatral, among other events. There will also be workshops, homage, besides exhibits, book premieres, and concerts in favor of common creation of our America.

On January 15th will be formed the jury for the Literary Prize Casa de las Americas that this year arrives to its 59th edition. This award is one of the oldest in the continent. Winning works will be made public on Thursday 25th.

As it’s tradition, during the sessions it will be developed alongside the main event presentations of books, round-tables, panels, and debates about topics related with the genres and categories in competition. The jurors coming from different Latin American countries will participate. The encounters will have venue in Cienfuegos where the jury will work and then here in Havana, on January 22-25.

This time the competition will include the following genres and categories: story, theater, and essay of artistic-literary topic; as well as work in Brazilian literature, with non-fiction books written in Portuguese, and texts published in Caribbean literature in either English or Creole. It has also been convoked the Prize of Studies on Women.

The history of this contest go as far back as the early foundational days of that institution, when, in July 1959, Casa de las Americas, newly created organized the first edition of the contest which after 59 years still has great prestige within the literature of our continent.

While on February 19-23, Casa will host a new edition of the International Colloquy of its Program on Women’s Studies. Those encounters are developed yearly since 1994. This time the main topic will be: “Women and Families in the History and Culture of Latin America and the Caribbean”. Further details at the e-mail:

This email address is being protected from spambots. You need JavaScript enabled to view it..

The fourteenth edition of the Musicology Prize of Casa de Las Americas is scheduled for March 12-16. This year texts will compete on musical historiography; interpretation and critical explanation of the musical creation; traditional and folkloric music; theory and practice on music teaching; global theoretical frameworks of musicology; and other problems related to aesthetics, sociology and the anthropology of music among others. The dateline for the admission of works is February 1st. During those days it will also take place the Tenth International Colloquy of Musicology.

And of this spring, casa de las Americas will organize the tenth edition of Season of Latin American and the Caribbean Theater Mayo Teatral. On May 11-20 will arrive to this capital, representative theater groups in the region with a great variety that will include dramatic theater, testimony theater, scene of the street, theater of objects, rereading of classics and the presence of outstanding music.

This time the theme axis is the bonds between processes and results, the presentations will be accompanied by thorough explanations of the theater plays. There will also be workshops, conferences, exhibitions, book and magazine premieres, among other proposals.

Likewise the program of Casa de las Americas for 2018, announces the third International Colloquy of Studies on America’s Original Cultures, on October 9-12 dedicated to indigenous languages of America, expression, translation and recovery; and in November will arrive the Author's Week, as customary by yearend every year.

With its varied cultural program, Casa de las Americas, a beautiful project for unity, defense and promotion of the Latin American culture, will continue in 2018 its rich history in favor of the tree of common creation of our America.

Amilkal Labañino Valdés / Cubasi Translation Staff

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A Festival for a City

Havana welcomes its Theater Festival, an appointment where groups and artists from Europe and Latin America participate.

The Theater Festival of Havana will occupy the main theaters of the city until next Sunday. In its 25th edition it will aim for variety in its proposals: it’s difficult to find a fixed pattern, predominant coordinated aesthetic, main topics… But there is a guiding concept: theater as a transforming entity. Mostly as a space for critics.

Many of the shows already on scene approach polemic situations, "reviewing" controversial moments of contemporary history, they established a questioning dialogue with their audiences.

The Knights of the Round Table (Freddys Núñez Estenoz, from a text of Christoph Hein) is an interesting twist for the company of Camaguey Theater of the Wind. With a style of the most exaggerated, eccentric and crazy cabaret, particularly difficult topics are approached.


Nobody understood what the actors of Jo Strømgren Kompani, from Norway said on stage. There wasn’t a way, because it’s a pointless language that evokes "Soviet" sounds. There, however, says a lot: powerful metaphors (tragicomic, if you want) about the uncertainty of the future.

Eugenio Deoseffe demonstrates an extraordinary domain of the technique of marionettes. In Magnifying Glass: Worlds to Look Closely (Magnifying Glass, Puppets Company, Argentina; run by: Javier Lester Abalsamo) tells simple and delicious stories that can seduce spectators of all ages.

Stories Well Kept (The Salamander), directed by Ederlys Rodríguez, could be perfectly assumed as a plastic arts proposal. But here we have several stories (truthful or made-up) that interweave in a stylized essence. Theater of environments, of singular poetic touch conceived for an audience not greater than 15 people.

Jacuzzi (Trebol Theater) deals with role of the artist and his positioning in the complex panorama of present times. The nearness of the audience enables an interesting "dialogue."

In Ecstasy (Buendía Theater), Flora Lauten recreates the incidents of one of the most exciting personalities of the Church and literature: Mother Teresa of Jesus. The script written by Raquel Carrió, Eduardo Manet and Lauten herself put on top landmarks events in the life of the famous clergy woman, without seeking to do a biographical retell. There is a lot of poetry that establishes a mild dialogue with our day-to-day life.

The Two Princes (Las Estaciones Theater) it’s a small jewel, where mastery and sensibility of an inspired team come together. It’s about telling the antecedents of the sad homonymous story published by José Martí in The Golden Age, in a succession that awaits some unexpected incidents.

Amilkal Labañino Valdés / Cubasi Translation Staff

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Inside the Theater

This will be a new proposal of the Great Theater of Havana Alicia Alonso, since June 30 as part of the guided journeys they organize every Friday.  

This new activity of that outstanding cultural institution is part of the celebrations for its 180 years of foundation, about to turn in 2018.  

Therefore, starting this week visitors will have the opportunity, every Friday, in the first journey of the day, to know spaces and workspaces to which they usually don’t have access with the guided visits.  

In these halls that will be included in this new journey, it’s developed the entire process of preparation for the shows to be on stage. Among the spaces to be visited appear: the stage, the behind curtains, the basements, the theater’s roof and the dressing rooms. Undoubtedly, a very special attraction will be the visit to the dressing room which regularly used the mythical Cuban dancer Alicia Alonso, head of the Cuban National Ballet, during her memorable performances in that theater.  

With this new option, it’s encouraged a better approach of the public to that representative theater through its history, its performances and the traditions gathered behind its walls for over 180 years.  

Across from the Cuban Central Park, in the Prado of Havana, the Great Theater of Havana Alicia Alonso rises as one of the architectural jewels of this capital city holding great relevance for the city life. Inaugurated in 1838, as Tacon Theater, that institution is today a valuable treasure of culture and Cuban identity, as well as a landmark when spoken of history

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