Orinoco; LATE; Bill Blechingberg, Director; 2004 Raymond choreographed the musical numbers of two show girls who ran adrift along the Orinoco river on their fateful voyage to their next job.
——————————————————————————————————————–
Madre Selva; PS 122; Choreographer and Dancer ; Alma Villegas, Director; 1996 The stage version of the story of Ana Mendieta, a Cuban born conceptual artist who lived and grew to fame in New York. The Presentation depicts Ana’s philosophy of life and art and her exploration of the Taino and African traditions of her native Cuba, as well as the integration of these into her art work. The performance is a celebration of Ana’s art. A ritual, a myth created in order to transform what happened to Ana by granting her major desire: The return to the maternal womb.
——————————————————————————————————————–
Dark Habits; Angel Gil Orios, Director; 1995 The stage version of Pedro Almodovar’s film by the same name. Raymond choreographed all the dance sequences in the play.
——————————————————————————————————————–
Eso Fue Lo Que Trajo el Barco (That is What the Ship Brought In); Café Teatro Julia De Burgos, Choreographer and Writer; Bill Blechingberg, Director; 1993 Based on the upcoming novel of the life story of Raymond’s mother, Ramona Pimentel, to be released this coming fall, 2013.
——————————————————————————————————————–
Un Hombre Puede Tener Dos Almas (A Man Can Have Two Souls); Actor, Director, Choreographer and Writer; Café Teatro Julia de Burgos; 1992 Raymond played the part of Pancha, inspired by a poem that he wrote of the same name, about the duality that exists within a man’s soul, which will be a part of his new upcoming book, “La Otra Cara de la Moneda (The other Side of the Coin).
——————————————————————————————————————–
Macbeth, HOME for Contemporary Theatre, Choreographer, Stage Movement and Combat; Richard Evans, Director; 1991 Raymond choreographed the Afro-Caribbean dance sequences in this Latino-based concept which places Macbeth in a Latin American country, overtaken by a dictatorship and guerillas.
——————————————————————————————————————–
Pruebo, Raymond Polanco; Writer, Director and Producer, Teatro Lopetegui, 1979 Pruebo is the story of a drag queen who wants gain respect and be accepted in his community, as the woman that she feels he is within.
——————————————————————————————————————–
El Solar, Jorge Ross; Thalia Theatre; Actor and Choreographer; Zuly Montero, director; 1979 This is a play about a neighborhood in Cuba, where there were three different types of people living together surrounded a courtyard: the aspiring showgirl, the Neighborhood Shaman and the Law Enforcement that attempts to control these people.
——————————————————————————————————————–
Popol Vuh, Latin American Theatre Ensemble. 1979 Manuel Yeska, Director; Mario Peña, Playwright Popo Vuh is a theatrical piece based on the mythology and history of the Quiché Maya of Guatemala. The story encompasses the creation, ancestry, history, and cosmology of this culture before the conquest of the Spanish invasion to the new world. This story follows the hero twins known as the Hunter and Jaguar deer. Raymond preformed eight different characters, among them the Priest of Death and the Black Path. This Play had an eight month run in New York, and it was part of the Lincoln Center summer festival in 1979.
——————————————————————————————————————–
El Milagro del Señor de las Aguas, Lead Actor, LATE Theatre; Mario Peña, Director, 1978 This is the story of a young couple, which the family wanted to separate, but whose love was so strong that after a long drought, they invoked the much-needed rains for the land.
——————————————————————————————————————–
Noche De Estrellas, Latín American Theater Ensemble; Director, Choreographer; 1978 Raymond created the concept, as well as directed and choreographed this piece, based on the Bolero – Noche de Ronda. The piece is composed of couples who find love through the dance of the Bolero, Danzón and Guaguancó.
——————————————————————————————————————–
El Pez Que Fuma, Roman Chalbaud, LATE; Dumé; 1977 Raymond played the part of Muñeco, as well as being the assistant director. The story is of a brothel in Caracas called El Pez Que Fuma, where Raymond played the part of a Pimp.
——————————————————————————————————————–
Waiting For Godot, Samuel Beckett; LATE; Dumé; 1977 Raymond was an assistant director in this very important piece of his career. This was his first big opportunity to work next to a premier director, as was Dumé, in Hispanic Theater in New York.