ELEC­TRA GAR­RI­GÓ SEVENTY YE­ARS AF­TER ITS PRE­MI­E­RE

Arte por Excelencias - - CUBA -

Every na­ti­o­nal the­a­ter tra­di­ti­on has its own myt­hi­cal pro­duc­ti­ons, in which it mat­ters both the true facts that sur­roun­ded its work pro­cess, pre­mi­e­re and sub­se­quent per­for­man­ces, as well as the va­ri­ous anec­do­tes that can ne­ver be pro­ven, but which many take for gran­ted and re­main in the ima­gi­nary and in the tes­ti­mo­ni­es for the fu­tu­re. And the sta­ging of Elec­tra Gar­ri­gó, by Vir­gi­lio Piñe­ra, pre­mi­e­red on Oc­to­ber 23, 1948 in the the­a­ter of the Val­dés Ro­drí­guez Sc­ho­ol by Agru­pa­ci­ón Te­a­tral Pro­me­teo (The­a­ter Group,) un­der the di­rec­ti­on of Fran­cis­co Mo­rín, is in­dis­pu­tably one of them.

Writ­ten in 1941, Elec­tra Gar­ri­gó had to wait se­ven ye­ars to be re­le­a­sed. And in that ye­ar, only one sin­gle per­for­man­ce was gi­ven apart from the pre­mi­e­re. It was ne­ces­sary to wait a full de­ca­de, un­til 1958, and af­ter that un­til 1960, al­re­ady in the midd­le of the Re­vo­lu­ti­on, so that a lar­ger au­di­en­ce could en­joy it: this ti­me with anot­her cast, alt­hough di­rec­ted by Mo­rín him­self with his Pro­me­teo Group. It was then when its me­rits star­ted to be ap­pre­ci­a­ted in their fair mag­ni­tu­de, so then it be­ca­me a classic of Cu­ban playw­ri­ting of all ti­mes.

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