I Festival


Puerto Rico

Dominican Republic






El Amateur

(The Amateur)


June 26 & 27

by Mauricio Dayub

directed by Luis Romero

About the Play: One could say that the Bird Alberto Lopez, and Lopecito, the protagonist in El Amateur, are two friends very much in need each of other. Simply put, as far as anyone can see, they possess absolutely nothing. And, in reality, all they have left is a remnant of some inner essence. For the Bird, it is his ability to dream dreams and his excitement about daily life. For Lopecito, his well developed, though precarious, survival instinct sustains him, together with the faint hope that things will get better, despite a bonefelt weariness. United by the most basic of needs, we do not know if the two are embarking on a real journey, or if we are only witness to an imaginary journey that reflects their innermost hopes and dreams. All the Bird’s effort amount to an epic campaign that challenges each and every possibility, while the “street smarts” of Lopecito, a wizard in the face of necessity, help him to believe that, just maybe, the two really can succeed. However, the task to which the two must rigorously devote themselves could cost them the highest price, that of their lives. As in Homer’s Odyssey, the Bird and Lopecito embark on the sea of life itself, and their true natures are revealed as happened with Ulysses, when they face the trials sent by destiny, the gods or circumstances to test them.

Don Quijote

y Sancho Panza

(Don Quixote & Sancho Panza)

Dominican Republic

June 9, 10 & 11

Teatro "Gayumba"

by Miguel de Cervantes Saavedra

directed by Manuel Chapuseaux

About the play: The nobleman Quejana, crazed by his passion for reading about the exploits of knights, decides to take the name Don Quixote and convert himself into a “knight errant”. He convinces the laborer Sancho Panza to accompany him as his shield bearer. Their journey becomes a series of adventures that end in illusion and failure: the armies are flocks of sheep, the giants are windmills…Throughout the story, Sancho begs and insists that they return home, but Don Quixote persists with his quest.

Más se Perdió

en Cuba

(More Was Lost in Cuba)


June 12 & 13

Teatro "Guirigay"

by Agustín Iglesias

directed by Agustín Iglesias

About the play: This is the story of the hero Cascorro, who never returns to Cuba, of Trinidad Tenaguillo, who always hoped to go back and of the anarchist/aspiring bullfighter Bombita, who served during the war with Cuba at the turn of the century, and who hopes that another war will start soon. By chance or trick, Cascorro and Trinidad are contracted to work for two pesetas in a tavern. There, for the first time, they find themselves on the stage of an actual theater where they must use all of their skills from the street and plaza with the hope of being good enough for the art of theater. To do this, our comics organize a ridiculous stravaganza – throwing together prologues, ballads, couplets, short plays, dances and farces, with the constant presence of the guitarist Bombita. The characters become like men and women everywhere, our ancestors who bequeathed to use the good and bad we have today. From this dust we were formed.



June 19 & 20

Teatro "Meridional"

by Julio Salvatierra Cuenca

directed by Miguel Seabra

About the Play: “CALISTO, THE STORY OF A CHARACTER” At the play’s end, Calisto, a young lover from the classic drama La Celestina, shares with us his thoughts and stories, 500 years after his original creation. They are the stories of a whole century (1500-1600) that closes with the arrival of another great work: Romeo and Juliet. Through Calisto, we get to know more than 24 characters, as he tells us about them, mimics them, remembering and bringing them to life before our eyes, converting the actor into a character, and the character into an actor. We are witness to a ceremony in Rome celebrated by the libertine Pope Alexander, the carnivals in Venice in 1530, the war between comedians in Paris, and the moment when Shakespeare decides to leave the farm and take up writing. But while telling us his stories, the stories weave themselves into the conflict that unites -symbolically- character and actor. Who is more real?  Dreams or reality? Reality or wishes? Flesh or spirit? Is dreaming or imagining worth anything? And of what use is a character?


Puerto Rico

June 24 & 25

Compañía "El Cemi"

by Roberto Ramos Perea

directed by Roberto Ramos Perea

About the Play: “QUIMERA”, a two act play, begins with the death of Antonio Alonso, as remembered by his son Mario, between whom had existed a tense love-hate relationship. As the play goes back in time, we learn that Antonio Alonso was a theater manager, who had opposed the Spanish government. Because of his opposition, his theater company teeters on the brink of bankruptcy, and experiences much hardship. In the midst of this turmoil, Mario’s aspirations are in constant conflict with his father’s efforts to escape further persecution by accepting things as they. Antonio organizes a patriotic Spanish soiree to raise funds to help the Spanish army fight against an invading army. While the father-son relationship becomes even more strained over these events, Amanda de Atocha arrives secretly at the theater, and Mario falls hopelessly in love with her. At this moment, the Spanish-American war erupts. The North Americans come ashore at Ponce, and the mayor, to please the new arrivals, sends his wife to ask Antonio Alonso to entertain General Nelson Miles and his lieutenants with a show. Antonio Alonso begins rehearsals for the show, and asks Mario to help because there are so few actors available. After refusing at length for both personal and political reasons, Mario agrees, while cursing his country’s misfortune. Before long, old grudges resurface, and Mario looks for a way to ruin his father’s efforts to entertain the new arrivals. In desperation, Mario decides to make an attempt on the life of General Miles during the show. Then follows a great transformation in the characters of both Mario and his father. The play ends exactly as it begins.

Las Cosas

del Cantar

(Songs From Life)


June 5 & 8

by Dahd Sfeir

directed by Jorge Curi

About the play: “SONGS FROM LIFE” is a collective homage to the great poet of Granada, Federico García Lorca (1898-1936) in the centennial year of his birth. It gathers together some of Lorca’s most famous poems, several scenes from his theatrical works, and a number of the songs he collected in his facet as an accomplished musician. The show also includes writings by his contemporaries, Machado and Bergamín, along with songs evoking the world of the Andalusian gypsies that so captivated Lorca’s spirit. So on the same stage, you see together the doleful women of the Lorcan dramas (Doña Rosita, Blood wedding, and Mariana Pineda), the “manolas”, the “bullfighters”, the “gypsies”, vivid examples of what Lorca himself called the “spirit and mystery of the flamenco”.

Monte Calvo


June 17 & 18

Teatro "La Tea"

by Jairo Aníbal Niño

directed by Nelson Landrieu

About the play: Monte Calvo, written in 1969 by Colombian playwright Jairo Aníbal Niño, deals with the participation of Latin American troops in the Korean War. Colombia has a significant role in this war as Colombian soldiers suffered heavy causalities during a surprise attack on Monte Calvo. The story centers around a patriotic soldier, a demented sergeant, and poor beggar who plays as the town fool. Poverty binds these three to each other in a way that moves the heart although the play ends with a unexpected twist. Monte Calvo depicts a universal problem in which political action involves men in foreign wars. In the case of Korea, it is a Latin American country that fights in one of the 86 battles and 44 wars that have taken place in the world, one from which it received no benefit, and about which it knew very little.



June 15 & 16

by Gustavo Ott

directed by Gustavo Ott

About the play: The story begins at the end. But in the first place, COMEGATO is a story of two brothers and one love. But it is also a story of failure, crime and betrayal -a betrayal that transcends family and spouse, and becomes the betrayal of country and reason. And all of this sits, like a time bomb, like two enormous, dangerous tanks of gasoline awaiting the careless toss of a cigarette, for someone to reveal himself as the true hero of the country. While the clock ticks, we watch the characters gamble away their pathetic and dangerous existences in a society built upon illusion. In a world of easy money and everyday immorality, Comegato is just an ordinary Sunday at the Races. Suddenly, an inexplicable phenomenon traps the characters within a world seconds away from its end. Time begins to move backwards. The races run against the clock. Time becomes an inverse calculation, and, like all time bombs set to detonate, it is a blind race towards the number zero.

Las Fórmulas del Abuelo

(Grandpa’s Formulas)


June 6

Teatro de Títeres "La Pareja"

by Daniel Dimauro & Raul G. Aguirre

directed by Daniel Dimauro

About the play: This puppet show, for children of all ages, consists of three parts each one independent, yet all interwoven. The first part tells the story of the old man Ludovico, who lives with his grandson Nico, and who is obsessed with finding a formula to make him young again, so he can share many experiences with his grandson. His efforts are unsuccessful, but not in vain, since the formula he invents helps him to recover his savings that had been stolen by a mean robber. This first part is to reaffirm a sense of justice in children, and the rewards of perseverance. The second part begins a dynamic contest between the old man Ludovico and a strange animal owned by a robber who wants to steal the old man’s savings. In the end, the robber is converted and the animal is tamed, thanks to Ludovico’s tenderness. The third part retells Ludovico’s departure for Maracaibo, accompanying an iguana who wants to visit its relatives. The two are followed by Nico, who wants to protect his grandfather’s savings. The two travelers encounter all types of robbers along the way, but Nico, with the help of the children and the audience, successfully saves them.