unique potential of my position as General Director of two performing arts organizations to help steward progress for other Latinos and facilitate opportunities for friends in the lyric theatre who labour mightily for a space on stage. How little did I know that complexities in cultural matters would thwart many of my moves. Issues arose first in 2003, when I programmed the Cuban zarzuela, , by composer Gonzalo Roig, based on the novel by Cirilo Villaverde, for Toronto Operetta Theatre (TOT). I was fascinated by the operatic treatment of sexism and machismo in Latin America, racial bias, the slave trade, incest and murder, all themes in the novel and followed with equal candor by the zarzuela. But the plight of an admired performer’s life in 1830s Colonial Cuba plunged me into a
Correct Casting
Mar 21, 2022
5 minutes
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