“Cuba: Punto X” came and went and made a significant statement as to how the Hispanic theatre has progressed and grown in New York City. Placed in the future 2020 post-Castro Cuba, the play succeeded in transmitting a historical account of Castro’s revolution and its aftermath, albeit with a few inconsistencies.
The play takes place in 2020 in the mountains of Cuba where two revolutionaries from the Castro years are in hiding and awaiting being smuggled out of the island. After hiding for five years, the two main characters are found by an investigator working for the transitional government. Within an hour and twenty-five minute time frame, much Cuban historical facts and the usual Cuban political propaganda are thrown around, nothing new to any play dealing with the Cuban subject matter. Ultimately, the two fugitives in hiding are arrested by the investigator to face trial for their alleged abuses of human rights.
New York Hispanic theatre has historically been one of minimalist set designs and poor production values. Usually a black backdrop, a table, a few chairs, and some folding window shades are used to transport the audience to a Caribbean or South American setting forcing the audience to exhaust their imagination, and leaving little to fully delve into the story line. The production values of “Cuba: Punto X” pushed the boundaries of the a-typical Latino theatre experience. Although the small spaces at the Producers’ Club are not the most accommodating in the City, this production made the most of the space. The small stage was effectively designed to give a claustraphobic feeling, and transporting us to the densely forested Sierra Maestra mountains in Cuba. The backdrop designed by artist Jesus Rivera added much dimension to the design. The lighting, although simplistic, was very effective, except for the extremely long blackouts. The music design by Frank Rodriguez at times seemed overbearing and overdone.
Written and directed by Ivan Acosta, the play had rich dialogue, but some facts were a bit blurry; perhaps the casting added to the confusion of certain historical dates and facts. For example, the lead character of “Eulalio” supposedly had tortured many at the beginning of the Cuban revolution in 1959, that would have placed the character in the year 2020 at around 80 years old, however the actor playing the character was no more than 35 years old, with no attempt made to make him look older, this was extremely distracting. The same could be said about the character of “Yari”. Such matters should have been addressed and resolved by Acosta. The play lacked an inner heartbeat or rhythm. The extremely long blackouts and the exorbitantly long unsupported dramatic pauses by the lead actress are the biggest culprits for the lack of rhythm.
The play was well acted by its three actors, although levels of experience was evident between the three. Alfonso Rey “Eulalio” demonstrated much physical and vocal prowess, even though he seemed too young for the character of “Eulalio”. His emotional range is especially noteworthy. The role of his lover “Yari” was played by Dalia Davi, an actress that demonstrated some potential, unfortunately, this role demanded much more experience and maturity, and therefore at this point in her career, the work seemed beyond her reach. The character of the investigator “Adrian“ was played effectively by Lucio Fernandez. Although on stage for just two scenes, this experienced actor delivered fully with a multi-dimensional performance.
“Cuba: Punto X” succeeded in bringing Hispanic theatre to a new level of proficiency. The wonderfully rich dialogue, the superb production values, and the high level of its actors made this play and extraordinary theatrical experience.
