Abelardo Estorino on his centennial is alive and changing

January 29, 2025

As in his 80s, with him in the front row, as in his 90s, still close to his death, the grace of Abelardo Estorino called us to Matanzas to celebrate his centennial, which occurs today.

Organized, like the previous ones, by Ulises Rodríguez Febles and me, the Colloquium One Hundred Estorinos. One Hundred Ferrers was held at the Casa de la Memoria Escénica, in two halls in the city of Matanzas, and in Unión de Reyes, the birthplace of the author of Vagos rumores. It then had the decisive sponsorship of the National Council of Scenic Arts, its provincial body there, the Provincial Culture Directorate and the municipal one in Unión, among other agencies; a practical testimony of inter-institutional collaboration, without which it is impossible to succeed today in a cultural event, or any other type.

Reminiscences, presentations and interventions resulted in an X-ray of the dramatic work of someone who, together with Piñera, makes up an essential duet in the island's scenic itinerary.

Approaches by Reinaldo Montero, Norge Espinosa, Vivian Martínez Tabares, Rubén Darío Salazar, Alberto Sarraín, Lillian Manzor, Aliocha Pérez Vargas and Yaudel Rodríguez Vento analyzed very diverse aspects of Estorinoan dramaturgy, while they approached the person and his vital trajectory.

We asked Norge, in a special way, to "surround" Rolando Ferrer, the author born in Santiago de Cuba also a century ago. And he fulfilled it abundantly, by reviewing his works, his outstanding work as a scenic director, and recording the crossing of vital circumstances between Pepe Estorino and him during a time. A strong incentive to promote the return to the stage of the father of Lila, the butterfly, Las de enfrente, La taza de café and La hija de Nacho.

On the stages we were able to appreciate the renowned production of La casa vieja, by Julio César Ramírez, by Teatro D'Dos, and Las penas saben nadar, with Olga Bucarelli and direction by Elvira Taveras, for Juancito Rodríguez's Dominican company.

In Unión de Reyes we made a pilgrimage to Estorino's grave, attended the exhibit prepared by the Municipal Museum, a frequent place for our honored guest in his visits to the town where he wanted to remain. There we assessed the various editions of his theater. We mourned the deterioration of what was the essential family home, on which he made the symbolic outline of La casa vieja.

And at the closing, at the Teatro Pedro Vera, we saw the project Las Alicias, Una mujer para Abelardo, conceived by Leira Díaz, advised by her professor Lizette Silverio, based on various female characters from our author. A wonderful closing, because in the solidity of these young actresses, still students of the Faculty of Theatrical Arts at the isa, lies the survival of his work. Proof, as Montero pointed out, that Estorino's art is solid ground. And, without a doubt, it is alive and changing.