ACT I

From the black after PAYEhas exited, the stage lights come up to reveal some pillars and railings to indicate a verandah, and four large archways through which we see a kitchen, AMELIA's bedroom, CACHA's bedroom and the rest of the house beyond. The stage floor should be painted so that these rooms seem to be around a small square patio. There are steps leading from the corner stage right onto the verandah. There we see a suggestion of a door which leads into the house. PAYEcomes up the steps, feeling the heat, carrying the suitcase and shoulder-strap tape recorder. He looks through the open door, but does not go in. Instead he comes around to the corner of the verandah which will be down stag center. He looks to the left, to the rest of the verandah which stretches to the stage left corner. The walls between the verandah and house through which we see the patio and the rooms surrounding it are non-existent, but must be respected as walls and therefore there is another entrance at the stage left side of the verandah, which can be indicated by a hanging piece of tiled roof. PAYE looks at the house and speaks directly to the audience from the corner of the veranda center stage.

PAYE: (Addressing the audience.) My grandparents' house is a big square house which they rented until the Revolutionary Government passed a law giving the deed to the property to tenants who had paid rent for a period longer than twenty years. It is an old house, a Spanish colonial house, one of the oldest in the city of Santiago de Cuba. I was born in this house and I spent my childhood riding a tricycle on this verandah with assorted cousins--all boys! My grandparents' house has seen weddings and wakes, nine children, twenty-six grandchildren, fires, earthquakes, hurricanes, revolutions, departures and reunions. Now behind the door there is a little plaque stating the ownership of the occupants with the headline "Thank You, Fidel." (He picks up the suitcase and enters the house through the stage right door.)

PAYE: Abue! Good morning! Abuela! ( PAYEmoves into the patio. There are clothes on the line. A towel has fallen. He picks it up and is about to hang it when AMELIA enters. Alarmed by his presence, she grabs a mop and cocks it in mid air.)

AMELIA: Drop it!

PAYE: (Startled.) What?!

AMELIA: (Calling.) Dilia! Cacha!

-202-

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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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