Dies in Havana the popular actress Natalia Herrera Díaz

July 4, 2018

On July 3, 2018, Cuban actress Natalia Agustina Herrera Díaz passed away.

Natalia was one of the most outstanding Cuban actresses, a triumphant vedette, an actress with profound dramatic depth and comic skill, who for years filled the cultural sphere and represented Cuba on tours abroad where she brought the most authentic Cubanness. She received the National Television Prize in 2004 and the National Humor Prize in 2010.

Daughter of René Herrera Dorticós and Trinidad Díaz Borrer. She was born on May 28, 1923 on Fábrica Street, in the Luyanó neighborhood of Havana, Cuba; but later moved to reside in Cayo Hueso. She was named Natalia after an aunt who had the same name. She had five siblings, two of whom died, and she was raised by her grandmother, her mother, and her aunt Natalia.

She never liked school and according to her own testimony only attended because she was forced by her mother. From age seven she would run away from home to dance rumba at Parque Trillo, from where on many occasions she would return home with police who knew her and brought her back to her family. She finally abandoned school after completing sixth grade.

From childhood her artistic talents emerged; her first performance was at age eight in a theater function, and at nine years old she was already singing and dancing in the theatrical company Pedro Salvá. In 1937 she was selected as Rising Star of La Corte Suprema del Arte, an amateur program hosted by Germán Pinelli, where she performed as a singer. In an interview granted to Amaury Pérez Vidal in the program Con dos que se quieran, on Cuban television, Natalia narrated how this first approach to professional art, at barely fourteen years old, generated strong contradictions within her family:

"In '37 I went to the Corte Suprema, I was 14 years old. My mom was sewing one day in the living room of the house, by hand, and my dad arrives and says:

– Hey, Chata, they've told me there's a girl at the Corte Suprema with the same name as our daughter, Natalia Herrera. – My mom was sewing, she looked at him and told him:

– She doesn't have the same name, she's your daughter.

And right there all hell broke loose, right there. He wanted to kill me.

– If my daughter turns out to be a loose woman it will be thanks to you, Trinidad Díaz Borrel. – He said her name and last name and everything. And she told him:

– From a convent school comes a rumba dancer, why would my daughter be different. Maybe you think she's a loose woman and she'll turn out to be a great lady and become queen or princess. So calm down, René.

I went to the Corte Suprema."
Natalia Herrera. Interview granted to Amaury Pérez Vidal

The contradictions with her father led her to marry Luis Alonso de León, a boy who visited her house, when she had not yet turned twenty. It was an arranged marriage so that Natalia could travel despite her father's opposition, who was at that time head of the customs list and had stated that if she left by boat he would throw her overboard and wouldn't take her out until the boat left.

Professional Career
Radio
Between 1938 and 1939, after outstanding work in La Corte Suprema del Arte, she made her professional debut in a radio program titled Rincón Criollo (which criticized the government of that time). She shared the cast with Carlos Badías, Vicente Morín, Sol Pinelli, and Clavelito. Between 1940 and 1941 she was also hired by Obdulio Morales to work in his theatrical company, standing out among other productions in the musical comedy Tambores. She was a founder of the work in Radio Cine. She also sang accompanied by the Hermanos Lebartadt Orchestra in 1942. Between 1943 and 1944 she continued the radio program Rincón Criollo and on the CMQ station in El alma de las cosas.

She began working at the Cabaret Edén Conset. Between 1945 and 1946 she began singing on Radio Cadena Habana and on CMQ. In 1948 she was part of the cast of the novel El derecho de nacer by Félix B. Caignet which was broadcast on CMQ. In 1949 she acted on Unión Radio in the program La Múcara, also in Las Mañanas Azules de RHC and La Alfombra Mágica. She worked alongside Joseíto Fernández, singing and acting in the radio program La Guantanamera, from the Cadena Roja station, of José A. Alonso.

She was invited to the Fiesta Radial activity of the newspaper El País, to that of La Liga Antituberculosa de Pinar del Río, and to La Marquesina of the Hotel Saratoga.

In 1950, on Radio Cine, she performed for subscribers of the newspaper El País. In 1951 she did Magazín Musical de Radio Progreso, participating for Partagás cigars, here she sang accompanied by the Conjunto Colonial de Nelo Sosa.

She performed on Radio Cine and in the Teatro Victoria. In 1952 she did La Mulata with Garrido and Piñeiro in the program Cascabeles Candado, worked in Nosotros los cubanos, directed by Gaspar Arias and singing on Radio Mambí. In 1953, she acts in the program Vivimos en Campo Alegre de Radio Progreso. In 1954, Radio Centro was inaugurated and she was called to work in the program Ron Pinilla, with Germán Pinelli and Cascaritas. Also in the Vodevil Cubano and in Estampas Criollas, where she sang guajiras.

In 1955, she did the program El Sol with the accompaniment of Charles Rodríguez's orchestra. In 1956, she continued doing La Mulata from the program La Tremenda Corte, by Garrido and Piñeiro on CMQ with Pototo, Filomeno and Mimí Cal, and also Voces de Cuba and Nosotros los Cubanos. In 1958, she works in the programs Nuestros Artistas de CMBF and Voces de Cuba. In 1961, she does Variedades de Radio Progreso; Sabor y ritmo at 7. In 1965, she works alongside Asenneth Rodríguez and Reinaldo Miravalles in Casa de mi Vecino.

In 1968, under the direction of Julio Lot, she begins working in the space Novelas Cubanas. In 1970, she sang on Radio Rebelde and Radio Progreso, continuing in the space of Novelas Cubanas.

In 1975, she does Después que llegó Colón, Gente de nuestra América and Qué piensa usted Profesor. In 1977, on radio she performs important roles in the space Novela Cubana and other programs.

In 1980, she works in the radio programs Móvil 8, Sector 40 and Alegrías de sobremesa in the character of Carmita Carmona. In 1982, she continues her radio appearances with the broadcast of El cañaveral, by Paco Alfonso, in the space Radio Teatro, as well as in presentations in radio spaces such as Meridiano, Noche de sábado and Gente de nuestra América. In 1983, she works in Información jurídica, Novela cubana, Noche de sábado, and A mal tiempo buena cara.

In 1984, she works in the spaces Novela Cubana and Gente de nuestra América de Radio Liberación with titles such as Crónica de una muerte anunciada, Fuente de Triunfo, Calle Abajo, Caso de Archivo, Historia de Mujer, and Paraíso Recobrado, among others. In 1990, she works daily in the recordings of numerous regular programs on Radio Liberación. In 1993, she did two Radio Teatro productions directed by Bernardo Menéndez and Mariana Ramírez Corría on Radio Liberación.
Television

In 1952, she began on television in the program Humo del Recuerdo, which broadcast Teatro Bufo works, sponsored by H. Uppman cigars. In 1953, she worked in the Show del Mediodía, doing La Escuelita, by Arturo Liendo, directed by Amaury Pérez García, as well as La Taberna de Pedro, Desfile Musical and Humo del Recuerdo.

In 1954, she worked intensively on television in the programs: Cuba ríe con Cristal, with Adolfo Otero and Julito Díaz, La Taberna de Pedro, with Alvariño and Echegoyen, Leche de Magnesia, Alégrese con Freska, Fiestas de Bacardí, Carabina de Hit, as well as in Rita y Willy, with Rita Montaner and Álvarez Guedes.

In 1955, she worked in the Show del Mediodía on channel 6 of TV alongside Cholito, Manolo Alván and Julita la Mariposita, under the direction of Amaury Pérez García and also performed in the space Teatro en TV with the work Santa Elena and in the program Cuba ríe con Cristal. She does Mesa Cuadrada, both on radio and TV, and also the program Garrido, Piñeiro y Natalia.

In 1956, she realizes the program Juan Ramos y Domitila and Jueves de Partagás. In 1957 she does Los Líos de Papá under the direction of Roberto Garriga, Frente a la Calle, Guateque de Apolonio and Telemando.

In 1961, she worked in the programs Noche Cubana, Juntos a las 9, Teatro Cubano and in the space Aventuras she did Los Mambises directed by Vázquez Gallo.

In 1962, she worked in the unforgettable program San Nicolás del Peladero, playing the sister of Remigia La Alcaldesa, which was played by María de los Ángeles Santana, and later the wife of Cheo Malanga (Enrique Arredondo) and the Mami Chula of Monteczuma.

In Cachucha y Ramón she did Mariíta, among other characters. In 1964, she plays the role of the Manager alongside Martha del Río in Casos y Cosas de Casa; she also worked in El frente de la calle, and in Hay que estar claro.

In 1965, she participates in the starring programs Noche de Sábado and Detrás de la Fachada, with Enrique Arredondo, Consuelo Vidal and Cepero Brito. In 1971, in Teatro en TV she played the role of Cuca in the work Santa Camila de La Habana Vieja, alongside Carlos Gilí and Asenneth Rodríguez. She worked in the space Horizontes and in Palmas y Cañas, singing alongside Ramón Velóz and Coralia Fernández.

In 1973, she worked in the space Cuentos, under the direction of Gómez Reyes. In 1974, in the space Teatro ICR, she works in the play Madre, by a Puerto Rican author, under the artistic direction of Ana Lasalle, where she acts alongside Josefina Enriquez and Antonia Valdés. In 1976, in Teatro ICR she works in the play La Chaqueta with Carlos Montezuma and María de los Ángeles Santana. In 1977, she acts in Teatro ICR in Vida y Muerte Severina. Between 1978 and 1979, she acted in Teatro ICR in Santa Camila de La Habana Vieja, in a special production broadcast as a greeting to the World Youth Festival, with Asenneth Rodríguez and Adolfo Llauradó.

In 1980, she worked in Teatro ICR in the play Hospital with Ángel Toraño and in La Pérgola de las Flores with Coralia Fernández. In 1982, she appears in the cast of Teatro ICR Lila la Mariposa under the direction of Loly Buján. She participates in La Comedia del Domingo with No es tan fiero el león, by Lucas Tarragó, as well as in other programs such as Nuestros hijos, Para bailar, and in Si no fuera por mamá, a humorous serial written by Enrique Núñez Rodríguez.

In 1983, she is part of the cast of Teatro en TV La Rosa tatuada alongside Rosita Fornés, Luis Alberto Ramírez and Elvira Cervera among others. In 1984, she acted in the Teatro ICR Mefistófeles, directed by Roberto Garriga, Después de un final feliz, alongside Armando Bianchi, Las Impuras also directed by Roberto Garriga, and Gracias por su visita directed by Joaquín M. Condall.

She continues working weekly in the popular Detrás de la fachada. In 1985, she continues appearing in Si no fuera por Mamá, with Martha del Río, Edwin Fernández and Litico among others. Also in the humorous space Ajiaco by Eduardo Rómulo, in Los Domingos no están contados by Lolina Cuadras, the comedy Coartada Perfecta on channel 6, Todos Estrellas and La Rebambaramba (also on channel 6). In 1987, she appears in various casts of Así era entonces, a television comedy on channel 6 directed by Yaki Ortega. In 1988, she appears in the space El Cuento with La Novia and in the usual Así era entonces on channel 6.

In 1994, she participates in the serial Día y Noche directed by Abel Ponce on channel 6 of Cuban TV. In 1995, she intervenes in the programs Sabadazo, Contacto and in La Noche se mueve the latter directed by Ruddy Mora (son), all on channel 6 of television.

She acts in the documentary Divas por Amor by Adolfo Llauradó. In 1996, she does Humus in vitro on channel 6 of television. In 1997, the programs Jugando con la muerte and Sangre ajena, Los hombres que amaron a Margot, El Médico with Enrique Almirante, El Martillador and La Medicina had her in their casts.

In 1998, she intervenes in a dramatized television serial dedicated to the achievements and tasks of the CDR. In 1999, invited to the humorous TV program ¿Y tú de qué te ríes? and in the police serial Día y Noche: Propietario del Alba. In 2000, she acts in Día y Noche: La Maja desnuda directed by Abel Ponce.

Theater
In 1952, she sang and danced in musical comedies at the Blanquita and Martí theaters. In 1954, at the Teatro Mariel, she acted and sang alongside Pototo, Filomeno and Mimí Cal.

In 1955, she was hired by Guido Monteverde to do theater in the Cha Cha Chá Company. In 1957, she debuted at the Teatro Martí with the musical comedy Las Follies Internacionales. In 1959, she works at the Teatro Martí in the musical comedy Show de Roblan. In 1964, she worked alongside Alicia Rico in the play El Avejón Rey. In 1967, she acts in Teatro ICR Los Apuros de un Fanático and also in La Madre, by Máximo Gorki alongside Ana Lasalle.

In 1972, in the play Cecilia Valdés she played Mercedes Ayala alongside Margarita Díaz. In 1973, she performed in theatrical shows at La Liga Contra la Ceguera and at the Cabaret Brisas del Caney, alongside Enrique Arredondo.

In 1981, at the Teatro Karl Marx, she acts in the staging of the Opera-son Échale salsita by Alejandro García (Virulo), alongside Carlos Monteczuma, Carlos Ruíz de la Tejera, Sara González and Erdwin Fernández among others.

In 1983, she works in the show Lola a la pelota, directed by José A. Rodríguez, alongside Carlos Monteczuma, Farah María and Alfredo Rodríguez, at the Teatro Karl Marx. In 1984, she performs in La Esclava contra el árabe at the Teatro Karl Marx, a musical comedy by Virulo, alongside Carlos Ruiz, Tatica, Jorge Guerra, Ana Lidia Méndez, Carmen Ruiz and Virulo himself among others.

In 1986, she acted in Virulo's new musical comedy El Bateus de Amadeus with the Conjunto Nacional de Espectáculos of the Teatro Karl Marx. In 1987, she participates in presentations of El Bateus de Amadeus at the Teatro Karl Marx. She acts in the theatrical comedy Vedette para El Diablo at the Teatro Mella. In 1995, she acts in the show Qué ocho patas para una mesa alongside the humorous groups Cuchilla and Punto y coma, and Enriquito Arredondo, at the Teatro América.

Film
In 1965, she was called by the Cuban Institute of Cinematographic Art and Industry (ICAIC) to work in the film Tulipa. In 1994, she acts in the films Reina y Rey and Guantanamera by Tomás Gutierrez Alea, as well as in Maité (Cuban-Spanish co-production).

In 1997, she acts in the films De regreso a Cuba and Zafiros, Locura azul. In 1999, she acts in short films produced at the International Film School of San Antonio de los Baños. She intervenes in the Cuban films Las profecías de Amanda by Pastor Vega and Tropicana, un paraíso bajo las estrellas by Gerardo Chijona.
Shows

In 1947, she was hired to work at the Cabaret Pensylvania, where she performed alongside important figures of the country. In 1950, alongside maestro Ernesto Lecuona she worked in the shows Las procalles de Camagüey at the Teatro América, where the Zun-Zún sang.

She joined the cast of the Cabaret Copacabana in Camagüey. She toured Argentina, Brazil, Venezuela and Puerto Rico. In 1952, she was hired to work in the show of the cabaret at the Hotel Flamingo in Las Vegas, Nevada, United States. Upon arriving in the city she suffered discrimination because of the color of her skin. A member of the company denounced her for being mulata and she was sent to the black neighborhood. When she settled in the place there were protests since they didn't want her there either for being considered white. Finally they accepted her in the white area of the city[1].

In 1953, she travels to Venezuela to do theater, Cabaret and Radio. She sang in the program sponsored by Luky Stars. She continued touring Colombia, Haiti, Curaçao and Ecuador. She performed in the shows of the Teatro Tosca, the Palacio de los Yesistas, and in the Cabaret Costa Azul in Cienfuegos. In 1954, she was hired to work in the Cabaret Pasapoca show and in the Isora Club. In 1955, she was part of the cast for the opening show of the Cabaret Rumayor Club in the city of Pinar del Río. She traveled to Peru, hired to do radio and cabaret.

In 1956, she was hired to work with Carlos Pous in La Feria de la Paz in Santo Domingo. She was also invited to work in the theatrical show Show de Prensa Libre and in the Cabaret El Bambú. In 1957, she traveled to the United States and performed at the Apollo Theater, alongside Candita Quintana, el Chino Wong and el Viejito Briguier in a Teatro Bufo show; she also performs in Miami in the Flaguer and Casini theaters.

With the Carlos Pous company she travels to Santo Domingo to work in theater, cabaret, radio and TV. She performs at the Cabaret Rumba Palace with the musical comedy Barco Platanero; she sings in the Teatro Alameda and in the Arcada of the Hotel Sevilla, in musical moments, accompanied by Bebo Valdés and Eddy Gaytán.

She made short appearances as an actress in Cine Revistas de Cine Leal. In 1958, she was hired to work at the Casino Parisién of the Hotel Nacional de Cuba, at the Hotel Sevilla, at the Cabaret Alloy Club and at the Club Intermenso. She participates in El Show de Osvaldo Farré.

In 1959, she acts in musical revues of the Cabarets Bambú, Autopista, Tropicana and Riviera, in the latter she sings alongside Ramón Calzadilla. In 1960, she travels to San José, Costa Rica, with the new Carlos Pous company and they continue touring Panama. Back in Cuba, she works at the Liceo de San Antonio de Río Blanco in a musical show, she also joins the cast of the Cabaret Los Troncos in Havana and participates in the shows of the Floats of Havana and Santiago de Cuba, in the first socialist carnivals, which were celebrated this year.

In 1966, she participates in the Show del Salón Rojo of the Hotel Capri, in that of the Ranchón Club of the Isle of Youth and in the Show that ICR prepared in San Antonio de los Baños. In 1969, she was called to work in the musical shows of the Jagua and Internacional hotels in Varadero and in the Cabaret Costa Azul in Cienfuegos.

In 1970, she was invited to work in the musical show Alegría y Juventud. In 1972, she sang at an event at the Fragua Martiana accompanied at the piano by maestros Rodrigo Prats and David Rondón. In 1982, she regularly performs in variety shows at the Casa Central de las FAR. In 1983, she performs in a show during the Humor Festival in Santiago de Cuba. She participates in an Artistic Brigade directed by Bernardo Menéndez with performances in Matanzas, Sancti Spíritus and other provinces.

In 1984, with the Artistic Brigade directed by Eddy Vidal she performed at the Círculo Social Marcelo Salado, the Teatro de Melena del Sur, in Santa Cruz del Norte and at the Círculo Social de Caibarien. She performs as a singer in variety shows at the Teatro de Melena del Sur in the Skoda Factory in Artemisa, at the Psychiatric Hospital of Havana. She joins another Artistic Brigade of ICR and Eddy Vidal with performances at the Sala Universal de las FAR. Tours of Matanzas, Holguín, Moa with La Esclava contra el árabe.

In 1987, she created an Artistic Brigade of Amateurs with a didactic show about Teatro Bufo and its classic characters of the little black man, the mulata and the Spanish man, with which she staged several works and performed in dozens of places. She performs at the V Humor Festival in San Antonio de los Baños. Performance of La Esclava contra el árabe at the Sala Universal de las FAR. With the Artistic Brigade of ICR directed by Eddy Vidal she performs at the Cabaret in Artemisa and at the Teatro María Teresa Vera in the same municipality.

In 1988, she makes an artistic tour of Ethiopia with an ICR Brigade. In 1989 she makes a new artistic tour, this time to southern People's Republic of Angola with an Artistic Brigade of ICR. In 1991, she performs in Cabarets with the Artistic Brigades of María Esther Monteluz and Eddy Vidal. In 1993, she acts at the Cabaret in Jagüey Grande, singing in the Artistic Brigade directed by Bernardo Menéndez. In 1995, she participates in the 1st International Television Festival, in the Sala Avellaneda of the Teatro Nacional de Cuba. In 1996, she acts in two Artistic Brigades of ICR and in the Peña del Museo de 13 y 70, Playa.

In 1999, she is a Jury member for the Aquelarre Amateur Festival. In 2000, she is invited by Edesio Alejandro to sing in a concert offered by the singer-songwriter at Casa de las Américas. In 2001, she performs in a tribute activity to the Cuban Baseball Team.
Awards and Recognition

In 1955, her work was recognized with the Trofeo El Guido which was awarded to the best foreign singer (shared on this occasion with Celia Cruz).

In 1992, she receives the Distinción Majadahonda from the National Union of Writers and Artists of Cuba (UNEAC) for her artistic contribution to the internationalist cause.

In 2001, the National Center for Research of Performing Arts pays her a tribute for her long career as an actress. To the Center's headquarters came Natalia's coworkers and friends to congratulate her and celebrate with her, one afternoon in March, during celebrations for International Theater Day.

In 2003, the National Union of Writers and Artists of Cuba (UNEAC) and the Cuban Institute of Radio and Television (ICRT) offered Natalia a tribute for her 80 years of life, with a party attended by prominent personalities of Cuban culture.

In 2004, she was decorated as an Emeritus Artist of Cuban Radio and Television, media in which she continues to work very frequently, both in novels, teleplays, and humorous programs, as well as in Cuban cinema.

In 2004 she received the National Television Prize.

In 2010, she received the National Humor Prize.

At the request of her family members her remains were cremated.