In “Tourism, ‘Tradition,’ and the Politics of Humor in the Cuban Play ‘¡Guan Melón! ¡Tu Melón!’” Rebecca L. Salois (Words without Borders) reviews a new play that debuted at 2016 at the Festival Internacional de Teatro de La Habana. It examines the island country post-thaw. Salois writes:

[. . .] Directed by the talented Nelda Castillo (founder and director of El Ciervo Encantado theater group), and starring Mariela Brito, Olivia Rodríguez, and Yindra Regüeifero (pictured left), ¡Guan Melón! ¡Tu Melón! presents a somewhat seemingly exaggerated display (as described in the program) of “the Cuban tourism marketplace” today. It uses traditional Cuban songs, jokes, sayings, and attitudes to demonstrate a humoristic interpretation of the reality of Cuba’s newly revived tourism boom, and plays with words in both Spanish and English to emphasize a focus on international tourism. But as Castillo explained after the opening night performance, there is very little fabrication here. The various displays of fodder for tourists in ¡Guan Melón! ¡Tu Melón! are very much a reality. The only exaggeration is the condensing of these tourist trappings into two individuals. [. . .]

For full review, see http://www.wordswithoutborders.org/dispatches/article/on-the-cuban-play-guan-melon-tu-melon-rebecca-l-salois?src=01152017nl