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¡Bienvenidos! Welcome! What a pleasure! Please come in.
Presented by FringeArts in 2018/ Remounted in 2020 at the Lang Performing Arts Center Cuban and American history converge in this original play exploring cultural exploitation, race, embargos, conquistadores, and the relationship between two countries that are really, really close together. Led by Cuban-American director Alex Torra, and created by an International Cast including real Cubans from actual Cuba, imported legally via airplane.
Performed in Spanish with English supertitles. For more information, visit the Post Show Info Page Responses to ¡Bienvenidos Blancos! Or Welcome White People!“¡Bienvenidos Blancos! is a genuine invitation for further conversation.” “...an inventive, fun... show that specifically considers those who live in two cultures…” |
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A Note From the Assistant Director - In English
Hello. My name is Cheryl, I’m one of the Cubans involved in this project, and I am working as the Assistant Director. Thanks for being here.
Oh man, getting to this point has been a long, two-year journey, and it’ll finally pay off on April 20th when we open this show.
So many things have happened: It all began with the casting process. We did auditions for performers in Havana, secretly, because finding a state-sanctioned theater that would allow me and a small group of Americans to have a casting session is an insanely complicated process – likely to be long and potentially doomed. As is often the case in Cuba, our friends helped us out on this. Later, the government denied the visa of one of the Cuban actresses cast in the show. Her name is Lily.
The visas that we needed were special because Cubans are not allowed to work in the United States. Better said, we’re not allowed to be “paid” in the United States. Not while still living in Cuba.
Jorge and I made it here for the first workshop (July 2017), and because we had lost an actress in the process, we had doubts if we would be able to return or have the visa approved again, and I always remember Ben on the day that we presented our Work-in-Progress showing. He asked me: “You think the next time the visa thing will be easier, right?” I told him: “¡Si, como no!” And it was worse. They closed the U.S. Embassy in Cuba and I had to get my visa in London and Jorge had to go to Barbados to request his after many, many difficulties.
This show is about Cuba and about Cubans. It’s about power, and death, and nostalgia. Fidel Castro is a part of my country’s history, but my land is vast and has a much broader history. He entered into power in January 1959 to bring change, and then he stayed in power for a very long time. Many Cubans came to the United States, fleeing this new reality, and I like to think they they “colonized” or “cubanized” South Florida. They created a tiny Cuba on the other side of the sea, always awaiting their return to their homeland. To this day, we remain separate.
Operation Pedro Pan (1960-1962), The Peruvian Embassy and Mariel Boatlift (1980), the Balseros (1994), and now, as they say in Cuba, “The Silk Road” (2015-2016). All of these have been mass migrations of Cubans trying to find the other, more prosperous Cuba that lies on the other side of the sea. Fidel left power in 2008 and in the hands of his brother, Raul, who inherited an impoverished island and a people tried of “luchando” (in Cuba, this word means more than fighting; it means, simultaneously, striving/hustling/surviving). And separated from each other by the sea. Fidel died in his bed at the age of 90. Raul will leave office and leave it in the hands of others the day before we open this show. I don’t know what will happen when I return, and I don’t want to think about it. In the meantime, ¡BIENVENIDOS BLANCOS! We’re so happy to have you with us.
Oh man, getting to this point has been a long, two-year journey, and it’ll finally pay off on April 20th when we open this show.
So many things have happened: It all began with the casting process. We did auditions for performers in Havana, secretly, because finding a state-sanctioned theater that would allow me and a small group of Americans to have a casting session is an insanely complicated process – likely to be long and potentially doomed. As is often the case in Cuba, our friends helped us out on this. Later, the government denied the visa of one of the Cuban actresses cast in the show. Her name is Lily.
The visas that we needed were special because Cubans are not allowed to work in the United States. Better said, we’re not allowed to be “paid” in the United States. Not while still living in Cuba.
Jorge and I made it here for the first workshop (July 2017), and because we had lost an actress in the process, we had doubts if we would be able to return or have the visa approved again, and I always remember Ben on the day that we presented our Work-in-Progress showing. He asked me: “You think the next time the visa thing will be easier, right?” I told him: “¡Si, como no!” And it was worse. They closed the U.S. Embassy in Cuba and I had to get my visa in London and Jorge had to go to Barbados to request his after many, many difficulties.
This show is about Cuba and about Cubans. It’s about power, and death, and nostalgia. Fidel Castro is a part of my country’s history, but my land is vast and has a much broader history. He entered into power in January 1959 to bring change, and then he stayed in power for a very long time. Many Cubans came to the United States, fleeing this new reality, and I like to think they they “colonized” or “cubanized” South Florida. They created a tiny Cuba on the other side of the sea, always awaiting their return to their homeland. To this day, we remain separate.
Operation Pedro Pan (1960-1962), The Peruvian Embassy and Mariel Boatlift (1980), the Balseros (1994), and now, as they say in Cuba, “The Silk Road” (2015-2016). All of these have been mass migrations of Cubans trying to find the other, more prosperous Cuba that lies on the other side of the sea. Fidel left power in 2008 and in the hands of his brother, Raul, who inherited an impoverished island and a people tried of “luchando” (in Cuba, this word means more than fighting; it means, simultaneously, striving/hustling/surviving). And separated from each other by the sea. Fidel died in his bed at the age of 90. Raul will leave office and leave it in the hands of others the day before we open this show. I don’t know what will happen when I return, and I don’t want to think about it. In the meantime, ¡BIENVENIDOS BLANCOS! We’re so happy to have you with us.
Una Nota De La Asistente De Dirección - En Español
Hola, soy una de las cubanas involucradas en este proyecto, soy la asistente de dirección y mi nombre es Cheryl. Llegar aquí ha sido un recorrido largo de 2 años que va a tener su recompensa el 20 de abril cuando se estrene este show.
Ha pasado de todo: Primero el casting, lo hicimos en la Habana en noviembre del 2016, clandestino, pues encontrar un teatro estatal que nos permitiera a mi y a unos americanos hacer un casting era un proceso engorroso, largo y que podía terminar en una negativa. Los amigos nos ayudaron en esto. Después le negaron la visa a una de las actrices cubanas que iba a estar en el show, Lily.
Las visas que necesitábamos eran especiales pues los cubanos no podemos trabajar en Estados Unidos. Mas bien, no nos pueden “pagar” en Estados Unidos. No viviendo en Cuba.
Llegamos aquí la primera vez en Julio del 2017 y como habíamos perdido ya una actriz quedaba la duda si íbamos a poder regresar o recibir visado de nuevo y siempre recuerdo a Ben el dia que presentamos el primer work in Progress y me pregunto: Tu crees que para la próxima va a ser más fácil, verdad? Ya vinieron una vez, la próxima debe ser más sencillo. Yo le dije: Of Course! Y fue peor. Cerraron la Embajada en Cuba y mi visa la trámite en Londres y Jorge tuvo que irse a Barbados a pedir la suya después de muchos contratiempos.
Este show es sobre Cuba y los cubanos. Sobre el poder, la muerte y la nostalgia. Fidel es una parte de la Historia de mi país pero mi tierra es más vasta y tiene mas historia. Él llegó al poder en Enero de 1959 para “cambiar todo lo que debía ser cambiado” y se quedó por mucho tiempo. Muchos cubanos vinieron a Estados Unidos huyendo de este nuevo orden de las cosas y me gusta pensar que “colonizaron” o “cubanizaron” la Florida. Crearon una pequeña Cuba del otro lado del mar, siempre esperando volver a su tierra. Eso no paso y quedamos divididos.
Operación Peter Pan o los Vuelos de la Libertad (1960), La Embajada del Perú y el Mariel Boatlift (1980), los Balseros (1994), y lo que le dicen ahora en Cuba “La ruta de La Seda” (2015-2016) han sido migraciones masivas de cubanos intentando encontrar esta otra Cuba que está del otro lado del mar y es más próspera. Fidel dejó el poder en el 2008 en manos de su hermano Raúl, que recibió una isla empobrecida y un pueblo cansado de luchar. Y dividido por el mar. Fidel murió en su cama a los 90 años de edad. Raúl deja el poder en manos de otros el día antes del estreno de esta obra. No se que va a pasar cuando regrese y no quiero pensar en eso. Mientras tanto: BIENVENIDOS BLANCOS! Nos encanta tenerlos por acá.
Ha pasado de todo: Primero el casting, lo hicimos en la Habana en noviembre del 2016, clandestino, pues encontrar un teatro estatal que nos permitiera a mi y a unos americanos hacer un casting era un proceso engorroso, largo y que podía terminar en una negativa. Los amigos nos ayudaron en esto. Después le negaron la visa a una de las actrices cubanas que iba a estar en el show, Lily.
Las visas que necesitábamos eran especiales pues los cubanos no podemos trabajar en Estados Unidos. Mas bien, no nos pueden “pagar” en Estados Unidos. No viviendo en Cuba.
Llegamos aquí la primera vez en Julio del 2017 y como habíamos perdido ya una actriz quedaba la duda si íbamos a poder regresar o recibir visado de nuevo y siempre recuerdo a Ben el dia que presentamos el primer work in Progress y me pregunto: Tu crees que para la próxima va a ser más fácil, verdad? Ya vinieron una vez, la próxima debe ser más sencillo. Yo le dije: Of Course! Y fue peor. Cerraron la Embajada en Cuba y mi visa la trámite en Londres y Jorge tuvo que irse a Barbados a pedir la suya después de muchos contratiempos.
Este show es sobre Cuba y los cubanos. Sobre el poder, la muerte y la nostalgia. Fidel es una parte de la Historia de mi país pero mi tierra es más vasta y tiene mas historia. Él llegó al poder en Enero de 1959 para “cambiar todo lo que debía ser cambiado” y se quedó por mucho tiempo. Muchos cubanos vinieron a Estados Unidos huyendo de este nuevo orden de las cosas y me gusta pensar que “colonizaron” o “cubanizaron” la Florida. Crearon una pequeña Cuba del otro lado del mar, siempre esperando volver a su tierra. Eso no paso y quedamos divididos.
Operación Peter Pan o los Vuelos de la Libertad (1960), La Embajada del Perú y el Mariel Boatlift (1980), los Balseros (1994), y lo que le dicen ahora en Cuba “La ruta de La Seda” (2015-2016) han sido migraciones masivas de cubanos intentando encontrar esta otra Cuba que está del otro lado del mar y es más próspera. Fidel dejó el poder en el 2008 en manos de su hermano Raúl, que recibió una isla empobrecida y un pueblo cansado de luchar. Y dividido por el mar. Fidel murió en su cama a los 90 años de edad. Raúl deja el poder en manos de otros el día antes del estreno de esta obra. No se que va a pasar cuando regrese y no quiero pensar en eso. Mientras tanto: BIENVENIDOS BLANCOS! Nos encanta tenerlos por acá.
The Team
Director/Lead Artist Alex Torra
Assistant Director Cheryl Zaldívar Jiménez
Choreographer Makoto Hirano
Performer/Creators Jorge Enrique Caballero Elizarde, Benjamin Camp, Lori Felipe Barkin, Idalmis Garcia Rodriguez, Jenna Horton
Live Music Performers TIMBALONA
Project Manager Sara Nye
Production Manager Robin Stamey
Stage Manager Emily Schuman
Set Designer Efren Delgadillo,
Jr. Costume Designer Fabian Fidel Aguilar
Lighting Designer Oona Curley
Sound Designer Anthony Martinez-Briggs
Props Designer Alicia Crosby
Supertitles Coordinator/Operator Paloma Irizarry
Technical Direction Flannel & Hammer Scene Shop
Sound Engineer Chris Sannino
Assistant Lighting Designer Abby Schlackman
Scenic Charge Anthony Wiegand
Photographer Kate Raines, Plate3 Photography
Video Producer Danielle Gatto
Community Liaison Marángeli Mejía Rabell
Talent Booking Agency AfroTaino Productions
Dramaturg/Online Resource Manager Linnea Carlson deRoche
Workshop Supertitles Designer Les Rivera
Assistant Director Cheryl Zaldívar Jiménez
Choreographer Makoto Hirano
Performer/Creators Jorge Enrique Caballero Elizarde, Benjamin Camp, Lori Felipe Barkin, Idalmis Garcia Rodriguez, Jenna Horton
Live Music Performers TIMBALONA
Project Manager Sara Nye
Production Manager Robin Stamey
Stage Manager Emily Schuman
Set Designer Efren Delgadillo,
Jr. Costume Designer Fabian Fidel Aguilar
Lighting Designer Oona Curley
Sound Designer Anthony Martinez-Briggs
Props Designer Alicia Crosby
Supertitles Coordinator/Operator Paloma Irizarry
Technical Direction Flannel & Hammer Scene Shop
Sound Engineer Chris Sannino
Assistant Lighting Designer Abby Schlackman
Scenic Charge Anthony Wiegand
Photographer Kate Raines, Plate3 Photography
Video Producer Danielle Gatto
Community Liaison Marángeli Mejía Rabell
Talent Booking Agency AfroTaino Productions
Dramaturg/Online Resource Manager Linnea Carlson deRoche
Workshop Supertitles Designer Les Rivera
Special Thanks and Support
¡BIENVENIDOS BLANCOS! or WELCOME WHITE PEOPLE! premiered at FringeArts in the spring of 2018. This production was developed at Teatro Ludi (Havana auditions); Swarthmore Project in Theater, Swarthmore College; Taller Puertorriqueño; and FringeArts. Major support for ¡BIENVENIDOS BLANCOS! or WELCOME WHITE PEOPLE! has been provided to Alex Torra by The Pew Center for Arts & Heritage, with additional support from The William J. Cooper Foundation and Department of Theater, Swarthmore College, Wyncote Foundation, the Network of Ensemble Theaters, and the Puffin Foundation, as well as the National Association of Latino Arts and Cultures, the Andrew W. Mellon Foundation, the Ford Foundation, Southwest Airlines, and the Surdna Foundation through a grant from the NALAC Fund for the Arts Grant Program.
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