The true story of Tropicana (VI)

THE SHOW

It is impossible to talk about Tropicana without mentioning its shows. 

It is also impossible to think of its shows without remembering Rodney and his fabulous "music hall". The truth is that, since the beginning, Tropicana was a forced subject by artistic productions that made selling point to attract customers.

When in 1939 the cabaret began its activities, the classic shows of that time were simple: a central figure, some quartet or trio and rumba Spanish dancing couples. The latter closed the spectacle. Among the leading figures was Therese of Spain, Corre’s wife, Rita Montaner and Bola de Nieve, accompanied by percussionist Chano Pozo, who later would integrate the band of DizzieGuillespi- and other prominent figures of the time, in a successful artistic balance alternately directed by Sergio Orta and Julio Richards and orchestra under the direction of Alfredo Brito.

Correa manages resources and proposes the passage back to Europe in exchange for the release of a music magazine for a certain time. Thus Congo Panther is born, which marks the beginning of the use of choirs, models and music specialists as Chano Pozo, with the compositions of consecrated Gilberto Valdés and orchestral direction of Alfredo Brito, all within the framework of beautiful illuminated foliage. Among the figures were Bola, Rita and Carmita Ortíz, who later integrated a formidable dance couple with Julio Richards, and members of the ballet, with figures of renowned universal prestige as Sergio Lifar and David Lichini, the latter choreographer of the film Red Shoes.

Congo Pantera, released with a lavish premiere, was the artistic event of the time and we can say without fear that its quality and excellent presentation was the forced comment of the celebrity world and the general public. Its release marked a pattern in cabaret shows, and soon Sans Souci released Zun, zun, baba, é with the monumental voice of Celia Cruz and choreography by Roderico Neyra, to which Victor de Correa countered as entrepreneur of the Lads of Spain, Spanish orchestra which marked a milestone in our tracks, and Harry Mime, pantomime exceptional artist.

At this point Martin currently owns Tropicana and decides to hire Roderico Neyra (Rodney) since 1952,  with five hundred dollars a week, but he had to continue alternating time with Sans Souci, because his successor, Carlyle, a prominent American choreographer could not cover his absence. Alberto Ardura will henceforth be fully responsible for the shows, starting the consecration stage of the famous Tropicana musical revues under the direction of Rodney, the creator of the famous quartet The Mulatas on Fire.

The shows were supported by the Tropicana Orchestra, integrated by renowned musicians led by the experienced Armando Romeu, whose musical arrangements were largely applauded.

In December 22, 1952 Arcos de Cristal opens with the sensational Afro Omelenko rhythm magazine where important figures of the courtyard as the quartet Orlando de la Rosa and Luis Carbonell highlighted.

In the summer The Merry Widow premieres, a humorous version of the eponymous operetta with unique interpretation of Rosita Fornes accompanied the body of dancers and exclusive models.

Since the reform of the casino, were presented in the bar musical moments where Orlando de la Rosa and his quartet, FeloBergaza, the Meme Solis quartet and others of artistic prestige.

In 1955 Rodney presents Tea House, with exclusive performance by Pedro Vargas for his twenty years of artistic life, and Cuba sings and dances, with Cuban singer Miguelito Valdes - especially hired from New York, the singer Olga Guillot  and Benny Moré, called El Bárbaro del Ritmo.

In order to increase its popularity, Tropicana decides to participate in the Havana carnival with a beautiful coach representing the arches and its monumental models and singers who danced to the beat of Romeu.

Tropicana Cubana hired in Cubana de Aviacion travel Agency a Super G Constellation and decorated inside with elements and allegories of the cabaret, with a wide corridor that served the rumba couple of Ana Gloria and Rolando to dance accompanied by a group of musicians  inviting  passengers to dance rumba. The plane left on Thursday morning to Miami and was back at eight in the evening with tourists. 

They had dinner in Tropicana and enjoyed the two shows. They returned to Miami the next day in the afternoon. In 1956, on one of those trips, the famous American singer Nat King Cole came to Cuba to appear in the Evocation magazine, whose main figures were Celina and Reutilio, Ramon and Coralia, Elena and Omara and Xiomara Alfonso.

The presentation of the King was an extraordinary artistic event and marked a time in the wonderful magazines of Rodney. The fifteen days Nat was at Tropicana, as an exclusive artist, were completely full and with thundering ovations, including those received by jazz session he had with Sarah Vaughan, who was acting in Sans Souci and was invited specially for it-and some orchestra musicians of Romeu, including Bebo Valdes, Barretico, Papin and others.

See:

The true story of Tropicana

The true story of Tropicana (II)

The true story of Tropicana (III)

The true story of Tropicana (V)