The play begins by contrasting two distinct life philosophies: one based on violence and the other on reason. Violence is depicted through the savage spectacle of cockfighting, suggesting that skill, cunning, and physical strength are the ultimate victors. Cheché embodies the idea that brute force will triumph if rational persuasion fails. For example, when Marela ignores his inappropriate advances, Cheché resorts to force, leaving her traumatized by his attack. Furthermore, when Cheché's efforts to modernize the factory are unsuccessful, he takes drastic action by killing the lector, whom he blames for maintaining a tradition he considers outdated.

In contrast, Santiago and Ofelia oppose automating the factory to protect the workers from losing their jobs. They rely on reasoned decision-making, even when it goes against the current trend. Rather than investing in machines, they decide to introduce a new line of cigars, which they plan to market aggressively. Additionally, both Ofelia and Juan Julian support holding a vote on whether Cheché's machine should be implemented in the factory. They favor a democratic approach to settle the issue and would have honored the decision, regardless of the result.

Ofelia, her daughters, and eventually Santiago, realize that improving the factory's work atmosphere requires hiring a lector. This role is meant to educate and inform the workers while maintaining a tradition steeped in cultural heritage. Despite many workers being unable to read, they can recite passages from classics such as Don Quixote or Jane Eyre, with some even memorizing Shakespeare. Ofelia asserts, "Only a fool can fail to understand the importance of having a lector read to us while we work," highlighting the educational benefits this practice offers. In an interview, Cruz underscores the transformative power of culture in Anna in the Tropics, noting that the play explores "the need for culture, the need for literature. Art should be dangerous."

Conchita expresses frustration with Palomo because she cannot engage in a "civilized conversation" with him, as he does not comprehend the lessons found in great literature. While Conchita examines the actions of Anna's husband from an emotional and psychological angle, Palomo is preoccupied with the man's wealth. Through this, Cruz suggests that relationships between men and women could improve if they shared similar insights. However, the core problem lies in Palomo's inability to see the similarities between his own marriage and that of Anna and her husband. This exchange also emphasizes the transformative power of art, as Conchita now perceives everything with "new eyes." As a result, Conchita empathizes with Anna's confusion and suffering. Cruz implies that a broader cultural understanding enriches the experience of human emotions.

When Juan Julian arrives at the factory, one of the first things he notices is the lack of hills or mountains around Ybor City, resulting in a flat landscape with a sky that seems "so much bigger... and infinite" than what he's used to in Cuba. Juan Julian is someone who deeply appreciates the restorative power of nature and takes time to reflect on it whenever possible. "I don't really like cities," he confesses. "In the country, one has freedom." He expresses feeling "asphyxiated" in urban areas, where buildings rob him of essential oxygen. He prefers the countryside, where he can enjoy the "verdure of nature." Juan Julian lives in harmony with his environment, as illustrated in a conversation with Marela, where he comments on how different types of light make the world clearer. Later in the play, during a debate about introducing machines at the factory, he warns against it, saying, "The truth is that machines, cars, are keeping us from taking walks and...