ACT I

The setting--very simple and schematic--will show a hangar and, toward stage left, the interior of a small airplane, with six seats plus that of the pilot. CHEO CALLEOCHO, dressed in camouflage fatigues, with his shirt open in such a way that an undershirt is seen, with several gold chains around his neck, among them one with a large medallion, an identification bracelet on his right wrist and a large watch on his left wrist, is seen inspecting some boxes and bundles that are in the back of the plane. He might hum a song. PHILLIP BIGMOUTH, dressed in a polyester suit, with a tape recorder hanging from his shoulder and a microphone in his hand, enters from stage right while interviewing MR. BLOND, who carries several files in his hands.

MR. BLOND: (With pursed lips in a prissy attitude.) I don't know how you were allowed in here. I gave strict orders that the press should not find out. It is a secret mission.

BIGMOUTH: Don't get mad, friend. I'm just doing my job. Besides, people have a right to know. Aren't you always talking about human rights in this country? Don't you believe in the rights of a radio reporter?

MR. BLOND: Of course, but some things have to be secret. (Eyeing his watch.) Also I believe in being on time . . .

BIGMOUTH: While we wait, I would like for you to make some exclusive statements to The Voice of Exile.

MR. BLOND: I've already told you. This is a secret mission. I can't speak on the radio. Don't bother me any more, please . . .

BIGMOUTH: Look here, bud, let's make a deal. You give me the interview now, and I give you my word that I won't broadcast it until you return from your mission.

MR. BLOND: I don't know . . . Phillip . . . I don't know . . . (He buries his head in the files.)

CHEO: (Approaching BIGMOUTH.) Hey, big boy! Any problems?

BIGMOUTH: Oh boy! Am I glad to see you here! Can you give me something on this mission for the seven-o'clock-news? That dumb gringo is full of . . . mystery.

CHEO: (Puffing-up his chest.) Well, old man, this is very serious business. You know, we do have to be careful, the infiltrations . . . all have to avoid a repetition of 1961.

-153-

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Cuban American Theater
Table of contents

Table of contents

  • Title Page 1
  • Acknowledgements 2
  • Contents 5
  • Introduction 7
  • Notes 17
  • Martínez by Leopoldo M. Hernández 19
  • About the Author 21
  • Act I 25
  • Act II 36
  • Your Better Half by Matías Montes Huidobro 53
  • About the Author 55
  • Act I 59
  • Act II 73
  • Act III 92
  • Birds Without Wings 111
  • About the Author 113
  • Act I 116
  • Act I 116
  • Scene II 117
  • Scene III 119
  • Scene IV 121
  • Scene V 127
  • Scene VI 130
  • Scene VII 131
  • Scene VIII 131
  • Act II 132
  • Scene I 132
  • Scene II 133
  • Scene III 138
  • Scene IV 141
  • Scene V 143
  • With All and for the Good of All (cuban Farce in Two Acts) 147
  • About the Author 149
  • Act I 153
  • A Little Something to Ease the Pain 193
  • About the Author 195
  • Prologue 199
  • Act I 202
  • Act II 226
  • Once Upon a Dream by Miguel González-Pando 239
  • About the Author 241
  • Act I 245
  • Act I 245
  • Second Scene: the Celebration 259
  • Act II 267
  • First Scene: the Betrayal 267
  • Second Scene: the End 274
  • Bibliography 279
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