Showing 7678 results

Although best known for his set and costume designs, Randy Barceló was also a dancer, photographer, interior designer, and all around artist. Born in Havana on September 19, 1946, Barceló left Cuba through Operation Pedro Pan at the age of 14. He studied art at University of Puerto Rico and in 1965 moved to New York where he enrolled in the Lester Pollard Theatre Forum School of Design.

Barceló began his career as a dancer and choreographer. At the age of 24 he worked as a designer for the Broadway musical, Lenny. In 1972 he designed the costumes for Jesus Christ Superstar and was nominated for a Tony Award, the first Hispanic nominee for costume design. He went on to design costumes for several on and off Broadway plays and musicals, ballet and dance productions, and operas.

Randy Barceló’s art work, primarily abstract and figurative sketches and paintings, have been shown in several galleries and museums including the Cooper Hewitt Museum, Hudson River Museum and Kennedy Center for Performing Arts.

In 1994, Barceló designed costumes for ¡Si Señor! ¡Es Mi Son!, choreographed for Ballet Hispanico by Alberto Alonso and Sonia Calero with music by Gloria Estefan. These were his final designs as he died of cancer on December 6th of that same year.

Randy Barceló’s Production Credits

Broadway

Ain’t Misbehavin’, 1978, 1988

A Broadway Musical, 1978

Dude, 1972

Jesus Christ Superstar, 1971

Lenny, 1971

The Leaf People, 1975 (costumes and make-up)

The Magic Show, 1974

Mayor, 1985 (sets and costumes)

The Night That Made America Famous, 1975

Senator Joe (never officially opened), 1989

Sergeant Pepper’s Lonely Hearts Club Band

Off-Broadway

Blood Wedding, INTAR Theatre (sets and costumes)

Caligula, La Mama Experimental Theatre Club

Cracks, Theatre De Lys, 1976

Lady Day, Chelsea Theatre Center

Mayor, Village Gate Theatre (sets and costumes)

A Midsummer Night’s Dream, New York Shakespeare Festival, Delacorte Theatre, 1982

The Moondreamers, La Mama Experimental Theatre Club

“Phillip Morris Superband Series,” Beacon Theatre (set)

Rice and Beans, INTAR Theatre (sets and costumes)

Spookhouse, Playhouse 91, 1984

The Tempest, LaMama Experimental Theatre Club

Opera

L’Histoire du Soldat, Carnegie Hall (sets and costumes)

Les Troyen, Vienna State Opera

Lily, New York City Opera

Mass, Leonard Bernstein, Kennedy Center

Salome, New York City Opera

Ballet and Dance

Black, Brown & Beige, Alvin Ailey Dance Theatre, 1976

The Blues Ain’t, Alvin Ailey Dance Theatre, 1974

Crosswords, Alvin Ailey Dance Theatre

La Dea delle Acque, Alvin Ailey for La Scala Opera Ballet, 1988

For “Bird” – With Love, Alvin Ailey Dance Theatre, 1984

Fuenteovejuna, Ballet Hispanico

Lovers, Jennifer Muller (sets and costumes)

Mondrian, Jennifer Muller (sets and costumes)

The Mooche, Alvin Ailey Dance Theatre, 1974

Opus McShann, Alvin Ailey Dance Theatre, 1988

Predicaments for Five, Jennifer Muller (sets and costumes)

¡Si Señor! ¡Es Mi Son!, Ballet Hispanico, 1994

Spell, Alvin Ailey Dance Theatre, 1981

The Street Dancer, Ballet Hispanico

Television

Ailey Celebrates Ellington, Alvin Ailey for CBS, 1975

Ain’t Misbehavin’, NBC, 1982

Duke Ellington: The Music Lives On, PBS, 1983

Film

Body Passion, 1987 (production designer)

The Cop and the Anthem

Cubanos (art direction and costumes)

Fat Chance (set and costumes for theater sequence)

Fatal Encounter, 1981

Secret Life of Plants (costumes for dance sequence)

Tainted, 1988 (art direction and costumes)

Los Dos Mundos de Angelita, 1984 (art direction and costumes)

Welcome to Miami (art direction and costumes)

When the Mountains Tremble, 1983 (production designer)

Distinguished Cuban poet, essayist and journalist Gastón Baquero was born in Banes, in the province of Oriente, in 1914. He completed a degree in Agricultural Engineering at the University of Havana, but decided early in his life to devote himself to journalism and literature.

He was a member, along with other renowned authors such as José Lezama Lima and Virgilio Piñera, of the group of intellectuals that took its name from the review Orígenes, an emblem of Cuban culture in the 1940s. He collaborated in other literary journals such as Verbum, Espuela de plata andClavileño.

Baquero published his first book of poems, Poemas, in 1942, which soon won him recognition and praise for the of poems like "Testamento del pez" and "Saúl sobre la espada." By the end of the 1940s decade and through the fifties he was respected as an intellectual, having earned a reputation both for his poetry and for his influential column “Panorama” which appeared regularly at El Diario de la Marina, of which he became editor.

His ideological disagreement with the government of Fidel Castro was immediate, and he left the country in 1959 as an exile. His work was obliterated from all records of Cuban literature including university curricula. At his new place of residence in Madrid, Spain he lived in almost total anonymity for years in spite of the admiration of many Spanish authors for his work.

In Spain, Baquero worked at Instituto de Cultura Hispánica and Radio Exterior de España, wrote articles regularly for several publications, primarily Mundo Hispánico, and taught at the School of Journalism. He published Poemas escritos en Españain 1960, a collection of essays on Latin American authors in 1961, and one of his most highly praised works, Memorial de un testigo, in 1966. In 1984 a collection of his works was compiled and published under the title Magias e invenciones.

In 1988 Baquero was nominated for the prestigious Premio Príncipe de Asturias de las Letras. A collection of his essays in two volumes,Indios, blancos y negros en el caldero de America, was published in 1991 and Autoantología comentadain 1992. He became a finalist to the 1992 Premio Nacional de Literatura in poetry for Poemas invisibles, and was nominated for other important awards such as the Reina Sofía. In 1993 the Fray Luis de León Poetry Chair of the University of Salamanca celebrated a week-long conference in honor of his poetic works. Other tributes included the inclusion of two volumes of his work in the Obras maestras collection of Fundación Central Hispano.

Not until 1994, however, was his work recognized in his native Cuba, when a conference about his poetry was held at the University of Havana for the first time since he left the country. Baquero died in Madrid on May 15, 1997.