that. in typical style. he retires to a crumbling
room in the old port. where the local bar staff
know him well. ‘The show is an attempt to capture the story of Cuba.’ says Gough. 'But I can't tell it myself. I’m the outsider. The cast have to present something that they can own and the stories only come through me.‘
And the stories have done: the heart of the show is the woman who plays Lady Salsa herself. Hilda Oates a 75-year-old black actress whose own life story reflects the very real impact of the Cuban revolution. As a poverty-stricken child she collected bones from the street to sell to a button maker and as an adult she worked as a domestic for a white family.
‘After the revolution. I saw an advert offering chances for theatre students.‘ she says. ‘I told the woman I worked for that I wanted to become an actress. She told me: “You can‘t do it. Nobody will want you because you’re black”.‘ But Oates trained at the age of 35 and became an established classical actress. Much of this play has its
origins in conversations with Oates. discussions of her own experiences. her meeting with Che. her knowledge of popular folk tales. and her humour. ‘The stories radiate out from Hilda.‘ says Gough and in rehearsal she by turn radiates comic timing. charm and a powerful sexuality.
The spectacular elements of the show. the song and dance. come from some of the country‘s best young artists. The cast includes dancers from the National Folkore Group and
'I told the woman I worked for that I wanted to become an actress. She told me: "Nobody will want you because you're black".’ Hilda Oates
National Contemporary Dance Company as well as street theatre and cabaret backgrounds. Choreography is by Alexander Varona. who dances with DanzAbierta and is one of the scenes brightest stars. The band is the popular and charismatic La Sonora de C alle. The set is being created in Edinburgh. from old copies of The Scotsman and The Herald. by the Mora , l .
LADY SALSA
This year's Fringe has gone Cuba crazy. The List flew to Havana to watch LADY SALSA in rehearsal as the city geared up for carnival. Words: Moira Jeffrey Photographs: Stewart Ennis
Group. papier-mache artists who have exhibited in Europe and are well known for their exuberant portrayals of Cuban street life.
They're all working in a style and at a rate that‘s entirely unfamiliar. In Cuba. state support for the arts means long rehearsal periods and 'investigative theatre‘ of a virtuoso nature and intensity that’s pretty difficult to achieve on the open market. But Cuban artists also have to face practical and economic challenges missing in Europe. resulting in the inventive use of materials and community spirit symbolised by the Mora group. Gough says he is benefiting. ‘I'm working with the collective skill. the energy and presence of my cast. They have a massive resource of technical skills. culture and training.‘
If Gough can realise these resources he might just pull off a bit of a miracle. When I leave Havana after a week-long visit. the moment of truth. like carnival itself is drawing closer. The excitement and the tension are
palpable.
Lady Salsa (Fringe) Edinburgh's Garden Party (Venue 50) 6-28 Aug (not 25) 9.45pm; 22-24, 26 Aug 11.30pm.
3—10 Aug 2000 THE llST FESTIVAL GUIDE 15