One of Cuban culture’s emblematic spaces

By Mireya Castañeda —Granma International staff writer—
Photos: Ahmed Velásquez

MILLENIA, centuries, decades, years. There are always choice moments to celebrate. Right now, the National Theater is doing just that to celebrate the 45 years since the center courageously opened its doors. The descriptions are valid: outstanding productions, distinguished artists and a variety of shows have passed through its halls and even the gardens have been transformed into one of Havana’s emblematic spaces.

But let’s delve into the past, because this theater has a somewhat history, as Miguel Sánchez pointed out in his very detailed book: Esa huella olvidada: el Teatro Nacional de Cuba (1959-1961).

“The oldest documented information we have found in relation to when construction began goes back to January 26, 1951 (From here on, all text preceded by quotation marks comes from the above-mentioned text) when the minister for public works at the time requested the initial funds “to pay for compulsory purchase and relocation allowances from the area around the Civic Square where the future installation was to be installed.” Bordering on a space that was to become Revolution Square eight years later. A short time lapse but with radical differences.

After an exhaustive search, Sánchez managed to pin down that the first stone of the Theater was laid “on July 29, 1952 (when the Batista dictatorship was already established) . But it was not until October 25 that the Purdy and Henderson Company officially signed as civil contractors to construct the building “according to the plans and specifications prepared by the office of Nicolás Arroyo Márquez, architect, technical director and supervisor of the project.

The inauguration date was set for October 10, 1954, but in November 1958 the theater had still not been completed and the opening was postponed until February 1959.

The National Theater would open its doors to a completely different historical era because on January 1, 1959, the Revolution triumphed. There was still a lot to be done on the Theater.

“Isabel Monal, appointed director of the National Theater in June 1959, would write at the end of that year: ‘Estimated calculations put state investments in the facility at around eight million probably four or five million has actually been used for construction, whilst during the dictatorship many of the funds ended up in private hands.’”

It was precisely that month that the National Theater was created as a cultural institution. Realistically speaking, what did the Revolution find?

“According to Ramiro Guerra, it was just a half-finished building. It was the outside shell but inside it was still empty.”

Currently, the National Theater has three halls: the largest is the Avellaneda, the Covarrubias (the first to be used in 1960), and that on the ninth floor.

The first performance in the Covarrubias (named after the actor and author Francisco Covarrubias, 1775-1850) took place on February 19, and consisted of a performance by the Conjunto de Danza Moderna directed by Ramiro Guerra, and from there commenced an extensive and intense program, a premonition of what would come to be expected of this theater.

In one year (as the final performances were in February 1961) some of the pieces to be included on its stage were The Respectful Prostitute, in the presence of its author Jean Paul Sartre; the first functions of the Folklore Department directed by Argeliers León, a precursor of today’s National Folkloric Group; the theater’s own chamber orchestra directed by Enrique González Mantici; the Peking Opera, no less; Vicente Revuelta with the premiere of El retablo de Maese Pedro (The Tableau of Maese Pedro) and Humberto Arenal directing El filántropo (The Philanthropist) by Virgilio Piñera.

“Although continuation of construction work on the theater was not abandoned, it would continue at a much slower pace until in 1964 it stopped completely,“ and it was not until 1977 when the Minister of Culture reinitiated construction on it that the National Theater was inaugurated “finally, truly, and completely on September 3, 1979”.

In a brief conversation with our publication, Nisia Agüero, director of the institution for the last 14 years, prefers to recall as significant events over the last 45 years: “the creation of the most important centers of national culture. Argeliers León and Isabel Monal began to develop their work here, transforming the technique of folkloric dance. At the same time there was Danza Nacional with Ramiro Guerra, and the Symphonic Orchestra with González Mantici, Carlos Fariñas, Duchesne Cuzán. All of these meant a great deal for Cuban culture.”

She also highlighted as relevant “the fact that the amateur artists’ movement was constituted here. “ “I believe that the National Theater has really signified a lot in terms of national culture, in 1959, after 1979, today and for always.”

The National Theater also possesses another distinctive characteristic beyond staging dramas, comedies, musical shows and concerts. It is the treasure chest of works of art, sculptures, murals, and paintings that embellish its gardens and interior.

The gardens are enriched with commissioned pieces by Rita Longa (La Muerte del cisne [Death of the Swan]), Roberto Estopiñan, Alfredo Lozano (La crisálida [The Chrysalis]), Tomás Oliva, Osneldo García and also a mural by Raúl Martínez. Reaching the Covarrubias is to immediately immerse yourself in art thanks to a splendid mural by René Portocarrero, Figuras del teatro (Characters from the Theater).

Inside, you can appreciate works by Gustavo Acosta, Adigio Benítez, Gilberto Frómeta, Flavio Garciandia, Arnaldo Larrinaga, Gory, Pedro Pablo Oliva and Umberto Peña.

The director emphasized that: “Each piece in this theater has cultural and historic value.”

All of this and its privileged location? “Ah, well, we’re in the Plaza de la Revolución. That’s undoubtedly significant. This is an emblematic theater and we try to ensure that it is just that.”

Its history, architecture, the outstanding artists who have performed here, the authors, their works of art, its special contact with surrounding community and with the public who are addicted to it, all these elements confer an incomparable distinction on the National Theater of Cuba. For this reason it has received well-deserved congratulations for its anniversary.