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Last Updated: 09 Apr 12

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Jesse Quinones

JESSE QUINONES   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

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Plays by Jesse Quinones

Weights

1st Produced:

Blue Elephant Theatre, London >>>

2007

Company:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#65012

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Genre:

Play/Drama

Parts:

Male

3

Female

2

Parts other:

-

Notes:

-

Synopsis:

Sun-worshippers' paradise, socialist utopia, tropical gulag - Cuba is many things to many people, but show me a man who exalts its culinary merits and I'll show you a very hungry person. But then, there is a US trade embargo. It tells the story of five Habaneros who idle away their days on their apartment-block balcony. Eighty-seven-year-old Viejo smokes cigars, drinks rum and talks frequently and loudly; Sonador paints; Negro pumps iron; and the two female characters, Esposa and Guapa, lust after the young men who, despite their close physical proximity, remain emotionally unavailable. The title refers to Olayinka Giwa's Negro, a sullen man-child who lifts weights while waiting for a phone call from his father, an el exilio who escaped to Miami on a raft years ago. It also alludes to the unbearable strain of dreams deferred, of five very different people united in their inability to determine the course of their own lives. An affecting snapshot of life in the final days of Castro's Cuba.
Tarnara Gausi, Time Out London

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.