• Submitted by: admin
• Arts and Culture
• Theater
• 06 / 09 / 2007

The murder of a youngster in Havanas Parque Central on Christmas night is the cause that triggers the story, pretext to investigate in the social and familiar framework of the time in which we live. Why is a life cut short? Why were the relationships between parents and children so controversial? Why can a simple game end up in death?

An unvarnished look at the 21st century Cuba is what the audience will be able to see in this staging because, taking family as the central theme -following Cuban dramaturgical tradition-, the play prompts a number of questions about our here and now, demanding the commitment of creators. On the matter, I want to quote Pancho Garcias words, one of the players: "...is incredible that Abelito, being so young, writes a character that you cannot make if you do not get devastated, if you do not devote yourself to it (...) it is a character with which you have to jump into emptiness; you cannot do it in a different way.

For the revival of "hamaco," ethe team had to work hard in the replacement of players and in the adaptation of a new performing space. Once again highlights go to ancho Garcíi,, who was very applauded in this character. ernando Hechavarríi rachieves an excellent performance on stage, showing his capacity for risk and his willingness to work. eysi Sáachez, ein a little role, exhibits her talent. Unfortunately, the new performers do not match up the demands of the play, and should work to improve their performances. Carlos Celdrán tells his reasons to assume the staging, highlighting Abels interesting text despite being so young, because he achieved a very contemporary and synthetic story about what Cubans are experiencing nowadays, with biographies of highly current and well-synthesized characters. So the revival of "Chamaco" is a luxury for Cuban theater.

Source: By Marilyn Garbey, Cubasi