A Musical by IVAN BELAUSTEGUI
What is ALMA?
ALMA is a musical saga that portrays the story of Yaya, a female warrior and leader of an African village, captured and taken by force to the slave trade in Cuba at the end of the 16th century.
Centuries later, through the life of Alma, Yaya's descendant, we see how that African heritage evolved into a lifestyle full of color, rhythm and movement.
The story is told through 13 captivating scenes, divided into two acts. With all of its original music composed to follow this script, the show is designed to amaze its audience, through the use of majestic choreographies, flashy acrobatics, dreamy aerials and shadow theater.
ALMA follows the evolution of a culture from its origins, through its darkest period and to the emergence of a new way of life, in a distant land, as a consequence of it all.
Act 1
The History Line
We follow the ordeal of Yaya and her African clan; at first living freely on their native homeland and later on how they are all captured by a group of European slavers, their journey across the ocean,
their auction as slaves followed by their rebellion.
The first act ends with Yaya leading them to freedom, like they used to be but now on a foreign and distant land.
Act 2
The Lifestyle
The second act happens 400 years later in a typical "solar" habanero ( multifamily apartments that were once rooms with a central patio) during the course of one full day.
We see Alma, Yaya's descendant, as she struggles her way out of the solar towards the realization of her own dreams.
This second act clearly shows how deeply ingrained the African influence is rooted in the way of life of contemporary Cuba by
exploring the music and dance styles that have emerged from their African heritage.
The second act is more theatrical, full of movement and music.
STAGING
MUSIC
Efraín Chibás (Pacho)
The music of Alma is a sound journey that begins with some of the instruments built and played in Africa during the fourteenth and fifteenth centuries. To locate the viewer, we fuse their sounds with symphonic instruments and, during the various scenes, we address genres and styles such as arará, neoclassical, iyesá, odduddúa, flamenco, electronic, symphonic rock in chamber format, palo monte, minimalism, contemporary choral , guaracha, salsa, conga, columbia, bolero, latin jazz, guaguancó, chachachá, swing, among others.
More than a hundred musicians participated in the recording of the music for Alma, composed almost entirely by Efraín Chibás and based on the script by Iván Belaustegui and choreographies by Joan Morell.
CHOREOGRAPHY
Joan Morell
The choreographies are an infinite journey through different dance expressions necessary to narrate Alma's story. The inspiration comes from the script itself, and thus we develop characters pushed to the limits in their artistic expression. As an artist, the same interpreter can sing, dance, act and, at the same time, develop his musicality through dance rhythms.
CHOREOGRAPHY
Joan Morell
The choreographies are an infinite journey through different dance expressions necessary to narrate Alma's story. The inspiration comes from the script itself, and thus we develop characters pushed to the limits in their artistic expression. As an artist, the same interpreter can sing, dance, act and, at the same time, develop his musicality through dance rhythms.
COSTUME DESIGN
Samantha Chijona
The costume design is inspired by the sunset color of the African savannah, full of life, saturation and strength. With a modern and timeless language, it intends to represent life, struggle, strength and the two cultures that, in such a visceral way, created the Creole years later. Linens, bambulas and satins. Reds, oranges, whites, grays and blues, that blue of the island, of infinity, paraphrasing Mario Conde.... that damn circumstance of the sea everywhere.
SCENIC DESIGN
Maykel Martínez
The set design synthetically interprets some of the most representative and picturesque elements of the times that serve as a reference for each act. From the conception of a Spanish galleon, to the recreation of a typical Havana “solar”, art is incorporated into the narrative as one of the most impressive elements of the show.
SCENOGRAPHIC DESIGN
Maykel Martínez
The set design synthetically interprets some of the most representative and picturesque elements of the times that serve as a reference for each act. From the conception of a Spanish galleon, to the recreation of a typical Havana “solar”, art is incorporated into the narrative as one of the most impressive elements of the show.
CREATIVE
Iván Belaustegui
Original Idea / Executive Producer / Director
Efraín Chibás (Pacho)
Original Music
Joan Morell
Choreographer
TEAM
Carolina Kleinman
Executive Producer / Creative Advisor
Lilian Triana
Marketing
Victor Zapatero
Lighting Designer
Víctor Vinuesa
Audiovisual
Malú Tarrau
Production Manager
Adam Battelstein
for Catapult Entertainment
Shadow Theater
Jorge Caballero
Acting Coach
Massiel Caballero - Marlon Owen
Production Assistant – Stage Assistant
Nilda Guerra
Guest Choreographer
Samantha Chijona
Costume Design
Tamy González
Régisseur
Lourdes G. Bereau
Head of Communication
Maykel Martínez
Scenographic Design
Paola González
Graphic Design
TEAM
Carolina Kleinman
Executive Producer / Creative Advisor
Malú Tarrau
Production Manager
Nilda Guerra
Guest Choreographer
Lourdes G. Bereau
Head of Communication
Lilian Triana
Marketing
Adam Battelstein
for Catapult Entertainment
Shadow Theater
Samantha Chijona
Costume Design
Maykel Martínez
Scenographic Design
Victor Zapatero
Lighting Designer
Jorge Caballero
Acting Coach
Tamy González
Régisseur
Paola González
Graphic Design
Víctor Vinuesa
Audiovisual
Massiel Caballero - Marlon Owen
Production Assistant – Stage Assistant
Abraham
Brian
Lázaro
Nadiezhda
Reynier
Yoanis
Akemis
Claudia
Leandro
Naomi
Richard
Yordanis
Amanda
Giselle
Luis M
Oddebí
Robermi
Ana
Jenny
Marta
Oviedo
Roxana
Abraham
Amanda
Brian
Giselle
Lázaro
Luis M
Nadiezhda
Oddebí
Reynier
Robermi
Yoanis
Akemis
Ana
Claudia
Jenny
Leandro
Marta
Naomi
Oviedo
Richard
Roxana
Yordanis
