I never would have imagined that I would get to see the Ballet Nacional de Cuba here in Costa Rica, but I did, and what a delight, for several reasons. First, going to theatre and ballet is what I miss most in my life here. When I saw a sign advertising the Ballet Nacional de Cuba for two performances here, I knew that I wanted to go. Second, there were some unexpected surprises in the repertory and third, it was a fun evening, providing a chance to experience a different side of life in Costa Rica.
Checking online, I was able to find that the repertory the company would be doing here was a mix of classical — which they are well known for — and some new pieces which looked intriguing. There was even a YouTube video of one of the new pieces, and after watching it I knew for sure I wanted to get tickets. I asked a friend who I thought might be interested, and sure enough she was and even offered to drive. Since I knew I would be having a guest at my house on the date of the performance, I also asked if she wanted to go. She did, and so I went online and bought three tickets in what we would call the mezzanine. The tickets were appropriately priced but the service charge for buying them online was outrageous. Alas, there was no other way to buy them, and you are not told about the service charge until after you have paid and see the separate amount on your credit card.
We did a bit of research on possible parking lots and decided we also wanted to have something to eat before attending the 5 PM performance. With the help of Google Maps we made it into the area and were immediately impressed by the stature of the theater – and this wasn’t even the National Theatre. The Melico Salazar Theatre is built in the European Baroque style. Originally called the Raventos Theater, the building was completed in 1928. Various restorations were done over the years, and in the mid-1980’s the government bought the theatre. By law it became a “cultural institution especializada” of the Costa Rican State. In 1986 it was renamed to honor the famous Costa Rican tenor Manuel “Melico” Salazar.
We drove around the area, but no parking lots were open, even though some had indicated they would be open for theatre performances. So we pulled up in front of the theatre to ask where to park. There were several cones blocking the direct entrance but a gentleman, clearly part of the theater staff, moved the cones. When we asked where to park, he said that for 5,000 colones (around $9), right where we were. We were thrilled and my friend Cynthia, who had driven and who speaks perfect Spanish, had a fun conversation with Hugo. And to make things even easier for us, the theatre has a lovely Café Raventos with a menu that worked perfectly.
Following a wonderfully relaxing late lunch, we entered the theater. I felt my usual excitement at attending dance and theater events. The theater definitely had a feeling of grandeur, and we found our seats. As the theater filled, it became clear that even though we were in the 4th row of the mezzanine the slope wasn’t steep enough for us to have a clear view. Luckily there were empty seats behind us and even one on the aisle in front. So we each were able to get a good view of the entire stage.
The first half of the program was my favorite. It opened with The Shape of Red, a recent addition to the repertory, by choreographer Ely Regina Hernandez. While I found an interview online where she talks about the piece, I was unable to find her bio. There were no printed programs. With a QR code I was able to download the program, but it contained no bios, and dancers who perform main roles in pieces are not named. The choreography incorporated a lot of modern dance moves typical of choreography in the mid-20th century, and then suddenly there was a pointe solo added in. That was a bit surprising, but as a whole the piece’s theatrical portrayal of the color red was very satisfying, including the ending where the lead character grabs hanging fabric and is lifted into the air. If you are interested in watching the piece, it is available on YouTube, and here is the link: https://www.youtube.com/watch?v=pxGkxIfHH2A&t=745s
My overall favorite piece was La Muerte de un Cisne, (The Dying Swan). Choreographed by Michel Descombey (1930-2011), it opened with the roaring sound of wind blowing, and what a surprise for me to see that the Dying Swan was a male dancer in bare feet. This was clearly going to be a different version than the original one created by Michael Fokine for Anna Pavlova in 1905. Descombey’s choreography worked with some very interesting and original dance phrases and it was beautifully performed! Alas there was no information about Descombey on the Ballet Nacional de Cuba’s website nor do I have any information about the dancer. The audience loved the work, and the performer received lots of bravos. From some research online I learned that Descombey was a French ballet dancer, choreographer and director. Most of his career was in France but the last part of his career was in Mexico. There is a video of La Muerte de un Cisne on YouTube. Here is the link to it: https://www.youtube.com/watch?v=4RphILIjOL0
The dancer in Ballet Nacional de Cuba caught the fragile quality much better than the performer in the link.
The other piece that that I really liked in the first half was Tres Preludes by Ben Stevenson. A trio, it was beautifully danced by two men and a woman. It had a simple quality to it, cleanly and playfully performed.
The rest of the program was what I had expected to see — well-trained dancers performing classical material, some of it credited to Alicia Alonso’s variation, such as the duet from Swan Lake.
The company is much loved in Cuba and the final curtain call showed that they are used to much adoration. The Costa Rican audience was generous with its applause, but I got the feeling that the company is used to more.
It was a very special evening and a real treat to see a fine company here. I hope there will be other opportunities!
We were allowed to take photos, as long as we didn’t use a flash. I enjoyed photographing the final curtain calls; here is the male dancer of the Dying Swan taking his solo bow.
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