Amado del Pino

Accidents, coincidences, chance often have a huge impact. The recent death of Vicente Revuelta – quintessential teacher to all of us who have worked in theater in Cuba for the last 55 years – coincided with the awarding of the 2012 National Prize for Theater to the complete dramaturge, the consummate artist, Pancho García, a joyous event.

Pancho spent a good part of his career with the exemplary company which for decades was known as the Teatro Estudio, founded by Vicente, with his sister Raquel, in 1958. Those of us who have had the pleasure of visiting the home of this good and passionate man, the great host Pancho García, have seen in a privileged spot within his living room – where everything is discussed, but above all, without ever boring, theater – is a photo from that historic performance of Mother Courage, among the many classics staged by Vicente. With Pancho in the photo are Raquel and another irreplaceable figure, Berta Martínez. It was with Berta that Pancho led the cast in Bodas de sangre, another great moment in 20th century Cuban theater.

Before joining Teatro Estudio, García had been part of the amateur artists’ movement, during its best days. He was directed in this period by Yony Amán, who deserves respect and more recognition, given his career. At the beginning of Pancho’s professional life, he joined the cast of Los juegos santos, a play written and staged by Pepe Santos Marrero, which was a landmark during the 1970’s.

The list of shows in which Pancho performed, directed or wrote is long and substantive. Also under the direction of Berta, he played the role of Macbeth, warmly received by critics. In the legendary Hubert de Blanck Theater he demonstrated the reach and depth of his talent, writing, directing, playing a leading role in El primo de La Habana, a one man show which resurrects and extends the Lorca character Doña Rosita. We discussed Lorca a good deal a few steps from the poet’s home in Fuente Vaqueros, on the night when Pancho was to portray Lorca, among several other figures, in my play Reino dividido, directed by Carlos Celdrán.

Pancho García has been awarded the National Prize for Theater, the country’s most important, at a productive moment. Recently screened was the television version of En el túnel, un pájaro, directed by Consuelo Ramírez, who has been so close to Pancho and his work. The staging of this play was one of his great moments as a director. It was also an important reflection of the dialogue he maintained with Spanish dramaturge Paloma Pedrero. Also currently underway are performances of Aire frío, again directed by Celdrán with the Argos theater company.

Not to be forgotten is La legionaria, Pancho’s one-man show, performed hundreds of times over 15 years. How much love goes into each and every performance! How much respect for the audience, connection and intelligence in every single show!

Lastly, an anecdote which I will premiere in honor of the National Prize winner:

During one of the performances of Reino... on tour in Spain, Pancho suddenly fell ill. He was briefly hospitalized, just three hours before the curtain call. Celdrán and the company were considering options. From his hospital bed, Pancho sent a message that he would do the performance, but that, just in case, a last minute replacement should be identified, to avoid a cancellation. People know I’ve done a bit of acting in films on TV, but I respect the theater too much – in any event, horrified, I put on the robe Pancho wore to give his masterful performance in one of the final and decisive scenes. José Luis Hidalgo – his counterpart and protagonist - patiently fed me the lines. To make my anguish worse, it was the part of the play I had least internalized. Perhaps because of my admiration for Pancho, the way in which he captured the priest, Father Almarcha, made it difficult for me to memorize the words which were now more his than mine.