Arturo Arias-Polo - El Nuevo Herald
Si no aparece alguien que se haga cargo de administrar el Teatro 8, cuando baje el telón del drama Con la frente en el polvo, la legendaria sala de la Calle Ocho podría desaparecer. La falta de recursos económicos y el cansancio de su director artístico son algunas de las causas.
“Fue algo que vino con el tiempo. Después de 22 años me cansé de llevar sobre mis hombros el papel de administrador del Hispanic Theater Guild”, explicó a El Nuevo Herald Marcos Casanova, cuyo desempeño como actor, director artístico y productor de todos los espectáculos de la organización se remonta a 1989, año en que se fundó. “Soy un actor que ha producido más de 75 obras y necesito libertad para actuar si me llaman, sin tener que preocuparme por la parte financiera”.
BY MIA LEONIN - Special to The Miami Herald
In the opening scene of Federico García Lorca’s Bodas de Sangre (Blood Wedding), adapted by Cuban playwright Raquel Carrió, a mother tells her grown son, “A man without land is like a tree without roots.” The mother (Marta Velasco) and her son (Jorge Luis Álvarez) are farm people who live psychologically and physically isolated on a remote stretch of land.
This is one of the fascinating paradoxes of Lorca’s classic tragedy: As tethered to the land as the characters are, they are also disturbingly rootless and detached. A feud with a local family that has endured for decades has poisoned the mother’s spirit and threatens to keep her son from happiness. On his wedding day, his bride (Sonya Smith) runs away with her former lover, Leonardo (Gabriel Porras) and violence ensues. Bodas has always been about man’s inability to ignore his primal instincts. Leonardo and the runaway bride choose their passion above all else, even though it results in their undoing.
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