The Alhambra Theatre: A Snapshot of an Era
The Alhambra Theatre opened on 13 September 1890, but many consider its golden age to have been in the early 20th century. Initially founded by Catalan businessman José Ross at the suggestion of Narciso López, the venue struggled to capture the interest of Havana’s audiences, who favoured the zarzuelas and light operas at the Albizu Theatre. Consequently, López’s «estampas criollas» also failed to gain popularity.
This situation changed with the dawn of the new century. The Alhambra went on to host the longest-running theatrical season in Cuban history, beginning when librettist Federico Villoch, stage designer Miguel Arias and actor José López Falcó (also known as Pirolo) took over the theatre’s lease. This season lasted until the stalls and portico roof collapsed in 1935.
During this period, the walls of the Alhambra bore witness to a vivid reflection of Cuban society at the birth of the Republic, encapsulating the political, economic and cultural upheavals of the time. Through the mischievous spirit of bufo theatre, with its sharp wit and inventive staging, the theatre provided audiences with scenes and characters that captured the essence of the era.
Over two thousand works were performed on its stage, attesting to the prolific creativity of their authors and the demand for plays satirising politicians, depicting world events and parodying classics. The impact was so profound that it spawned its own genre: the ‘alhambresco’.
Despite its flaws and any vulgarities — real or imagined — attributed to it, the Alhambra remains an admirable criollismo refuge. As Alejo Carpentier noted, it was one of the few venues in Havana where danzones were performed in the purest tradition, and one of the few places where the vibrant symbols of popular life were brought to life.
The legacy of the Alhambra was later celebrated on screen in La bella de La Alhambra by Enrique Pineda Barnet, a film that captures some of the charm and significance of this men-only establishment. According to writer and journalist Susana Méndez, its endurance was due to a combination of factors, including libretti that delighted audiences with their humour, topical satire and critical edge, the talent of actors — especially Regino López Falcó — and actresses, and excellent music, not to mention the set design and costumes.
From Jorge Ackermann’s compositions to the performances of the actors and the libretti, the Alhambra was, as Méndez described it, a realm of picaresque artistry and popular culture — a mirror of the imperfect yet bold Republic. Through its mischief, music, double entendres and translation of societal concerns onto the stage, the Alhambra transcended theatre and social boundaries to offer a limited yet powerful dialogue with reality.
Translated by Luis E. Amador Dominguez
Photo: Fotos de La Habana
