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Exile on Eighth Street

A Little Havana cultural icon pays dearly for his principles

Alberto Sarrain: Casualty in a political battle of the sort he thought he'd escaped when he left Cuba
Steve Satterwhite
Alberto Sarrain: Casualty in a political battle of the sort he thought he'd escaped when he left Cuba

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Since leaving the Artime, Sarrain and La Má Teodora have been temporarily disoriented. The handful of actors he uses are strictly volunteers. Like Sarrain himself, they all hold down other jobs and so are connected only when they are working on a project. “In truth I don't know what we are going to do next,” Sarrain says, “but no one is afraid, and no one thinks we should stop doing what we are doing.”

The Miami Light Project, another arts group that joined the ACLU lawsuit, offered Sarrain space in its Biscayne Boulevard office, but the director doesn't want to leave Little Havana and the cultural vanguard in which he is a key player. So he is searching for something affordable in the neighborhood. “Part of the role of an artist is to be a social provocateur,” he remarks, “so I'm pleased to be participating in a historic movement in Cuban theater. This art movement in Little Havana has developed because the Cold War has ended. I understand that all the forces of reconciliation have yet to emerge, but one has to begin to understand the individual apart from the government in Cuba. You can't say that when he becomes an exile tomorrow he's good, and today when he's not, he's bad. For exile status to be the measure of good or bad is unacceptable.”

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