On January 6, 1994, the heat was on between Tanya Harding and Nancy Corrigan. Who would be the Olympic champion in figure skating? To make sure she would take home the gold, Tanya decided to injure Nancy. Not many competitors will go to this extreme, nonetheless this is a world where winning is power and this is the ultimate goal for Eduardo Suárez and his daughter Margarita.
“The Cuban Swimmer,” is a play about a Cuban family whose daughter, Margarita, is in a swimming race from San Pedro to Catalina Island. The father, Eduardo Suárez, is Margarita’s coach even though he can hardly swim. As Margarita swims her father, her mother, Aida, her brother, Simón, and her grandmother are following in a boat behind her. Her father is encouraging her to keep swimming and counts to the rhythm of her swimming, uno, does, uno, dos. Margarita feels that she needs to win because she know that is what her father wants. A helicopter with two reporters are covering the race and reporting on her progress. They do not feel that Margarita would win the race. They think that she does not have the stamina and insulted the family by calling them “simple,” This angers the family, especially Aida; and she becomes angry with her husband for not defending the family’s honor. As the race continues, Margarita swims through oil that leaves her very tired, and as the weather changes and her strokes become more labored, she wants to give up but would not do so unless her father gives her permission to stop. Nevertheless, she stops swimming and eventually disappears; everyone thinks that she has drowned and is distraught; her father thinks that she dies because of him not wanting her to give up. He is inconsolable and as Simðn tries to get help on the radio he hears the same rude reporters announcing that there is a winner. To the family’s and the reporter’s astonishment, the winner is Margarita.
Every ethnic group has its own unique culture; and in this play the Hispanic culture is very evident. The father is not just the head of the house; he is the boss. Margarita is not entered into the race for the money but for the fame. This is obvious when Aida says that the two thousand dollars for the winner will not even cover their expenses. The play is also true to its ethnic roots in the family’s conversation. Like other speakers of foreign language, amongst themselves they revert to their native tongue. As is typical of the Hispanic culture, the grandparents are extensions of the family and usually they do not speak English. The grandmother lives with this family and hardly speaks any English; she constantly asks Simón to translate for her. Eduardo is the force behind Margarita’s tenacity. Like a dutiful Hispanic, daughter, Margarita keeps swimming knowing that her father is depending on her winning the race; she is his path to stardom. Margarita also wants to restore the family’s honor, she would make those rude reporters “eat crow.” Even when Margarita comes to an oil spill, she exhaustedly forces her tired body to keep going. She continues to swim despite the fact that her strength is waning. The weather changes, there is a wind and a mist and Margarita is truly drained and even says that she is not a machine. When she disappears the whole family is sorrowful but more so is Eduardo because he feels the he has caused his daughter demise. Margarita wins the race and as she walks out of the water her whole family is vindicated; however, Eduardo feels that he deserves the trophy for all his hard work. He knows that whole Hispanic community rejoices with him.
Fernández Sanchez says that the play is rich with the Cuban culture; the grandmother not learning English, Simόn speaking like the classic child who embraces both his present culture and the culture of his parents. As with most Hispanic family the father is the head of the family to whom everyone listens. He says that the race is man versus himself; he wants Margarita to succeed at any cost and Margarita wants to please him even if she must die in the process.
The family is Catholic as most Hispanics are however, there are two unusual factors in this play that are not archetypal of the Hispanic culture; one, Simón’s use of profanity in the presence of his elders; and Eduardo’s desire to win by keeping his daughter in extreme danger. Most parents in the Hispanic society think that the protection of their children is their definitive duty. In her evaluation of the play, Georgia Ronemus says, “Eduardo, the father is pushy and is determined that his daughter should accomplish his dream of winning the race.” Eduardo’s behavior may not be the conduct of most Hispanic parents and the author uses him to show like everyone else, for the right cause, Hispanics will step out of their comfort zone. If she had portray the family as strictly adhering to what is considered the Hispanic culture then that would show them as immigrants unwilling to assimilate into the American culture. Eduardo is a true example of what winning means in America.
Although Shakespeare is known as the greatest play writer, plays have been sources of entertainment long before Shakespeare’s ever hit the stages. “The Cuban Swimmer” is a one act play that is produced many times especially in schools and colleges. How the play is performed is the producer’s decision, however there is one common thread among producers; the performers must be sensational. In producing this play it is imperative that the characters know their lines well because there will not be an anchor if the first performance flops. More importantly, characters will be taught when and how to produce the right kind of body language. For example, they cannot say at the end of the competition, “Margarita won!” and appear as if they are in pain or going to cry. They must look excited, speak enthusiasm, and act thrilled. They must have audience angry with Eduardo when Margarita disappears; shaking their fists with the family at the rude comments of the reporters. The performers must be waltzing with audience and keeping the right tempo.
The lights, sounds, sets, along with characters are elements that will determine the outcome of the play. If the lights are not illuminating well, the play flops; the same thing will happen if the lights are not placed strategically or go on and off at the wrong time. Background sounds, music, environmental sounds, and any sound can be appropriately used to enrich the play.
Modern theatrical practice relies on sound to assist in a number of ways. It can be useful in creating atmosphere or mood. Actors and their bodies can construct effective sound in a performance. Mouths can produce sound effects for particular dramatic effect. Small props can also create sound effects that can be used live during a show. Other uses of sound involve the implementation of technology, such as instrumental recordings and sound effects on CD (Justin Cash).
The set or stage has to be thoroughly planned and timed. The audience cannot be left waiting because the next scene is delayed due to bad timing; if curtains do not open on time it will seemed like an added intermission and that means poor review for the play, or the audience might leave. In this play no element is more important than the other, and if the characters want to work again, they had better learn their lines and learn how to display the right body or facial expressions. “The Cuban Swimmer,” will never be seen by some theater goers since chances are it will never be performed in a place like the Lincoln Center; yet it has its audience and is popular among schools and colleges production. Of course the performances will vary for different production, because the play is produced according to the director’s interpretation. Shelly Sanders describes how a production of this play is done at the University of Colorado:
photo from a production at the University of Colorado showed Margarita standing with knees bent in a swimsuit and cap, her right arm raised in an imaginary pull, the resisting tides and the California oil slick represented by a water blue floor and curtain. She literally has to pull her arms through the air for most of the play. These artistic techniques highlight the physical, but also the symbolic--almost allegorical--atmosphere of the play.
For this activity, my artistic imagination will be severely tested. Preparing a stage to look like the ocean in not an easy task; nonetheless a good artist should be able to decipher my instructions
Scene I
(curtains open) The stage is a big canvas painted to look like the ocean with medium waves; the dome shaped back drop and the roof are painted to look like the sky, a cloudless, sunny day. Birds are flying overhead, the sounds of the waves and the birds are heard. White lights are bounce off a mirror to represent the sun and the sun’s rays. (Curtain closes).
Scene II
(curtain opens) The lights are dimed, a small boat big enough to hold four people is on the horizon, as the boat gets closer, the lights become brighter, and the boat becomes bigger, a woman wearing a black swim suit and a swim cap, is swimming in front of the boat. (curtains close)
Scene III
The faraway sound of a helicopter is heard; Eduardo is looking over the side of the boat with his megaphone and counting to the rhythm of Margarita’s swimming. The helicopter is overhead and the whole family is together on the boat waving excitedly. The conversation between the news reporters is heard. The family is angry as the helicopter flies away. The angry voices of the family are heard as the curtains close. Everyone is talking at once, as the curtains reopened to a changed canvas painted dark blue to look like an oil spill. The lights turn on Margarita as she struggles to swim in the oil.
Scene IV
(curtains open to silence) Aida and Eduardo are sharing a moment of intimacy; the lights are turned on them. The curtains close and reopen to a misty day. There is silence, only Margarita’s breathing and heart beat are heard. (curtains close)
Scene V
A new canvass for the ocean, the waves are higher, there is a mist and the sound of the wind is heard. The lights focus on Margarita, she drinks the water that Sinón and Abuela give to her; she gives back the bottle and turns on her back. She swims and stops she is tired she swims and stops again; then she sinks to the bottom of the ocean. To create this scene she is placed into a large fish tank, with fish swimming by her, to give the illusion of the bottom of the ocean. (curtains close) Sobbing from the boat is heard.
Scene VI
(curtains open) There is sobbing and there is static from the radio as they try to call for help. The lights turn on Eduardo who is greatly distressed. There is no sign of Margarita.
Scene VII
The lights are turned on Simón who holds the radio to his ear, he is so excited he open his mouth but no sound comes from it; he turns up the volume of the radio and hold it out so everyone can hear the news at the same time. The lights are turned on Eduardo, Aida, and Abuela, they sit in unison, they did not need to speak, the looks on their faces speak for them. The family finds their voices but the lights are turned on the beach as tried Margarita is taking off her swim cap and walking out of the water.
The play ends and Margarita is the winner. As is seen throughout the race, Margarita gains her strength from her family; and to perpetuate this concept, the writer does not show her swimming into victory. The mist between her and her family prevents them from covering the victory lap with her. However, the writer skillfully presents her accomplishment as a joint venture, and when it is impossible to show Margarita, the family is obscure too,
Work Cited
Cash, Justin. “The Cuban Swimmer.” 2008. Web. 26 Sept. 2013
Ronemus, Geordia. “The Cuban Swimmer.” 2009. Web. 25 Sept. 2013.
Sanchez, Fernandez. “The Cuban swimmer.” n.d. Web. 25 Sept. 2013
Sanders, Shelly . "Mi carne, mi sangre, mis ilusiones": the collision of words and worlds in Milcha Sanchez-Scott's The Cuban Swimmer.” The Journal of Sport Literature. Sept. 22, 2009. Print
