Representation matters because it tells young artists: “You belong here.”

 

A Night of Celebration and Hope: Latine Stories on Broadway

Tonight, I have the honor of attending the opening night of Real Women Have Curves on Broadway — a landmark moment that fills me with pride, excitement, and hope. This moment is made even more meaningful knowing that my mentor, Sergio Trujillo, is leading the charge as both director and choreographer, showing the world the excellence of Latine leadership at the highest level.

For the first time ever, two Latine-themed shows are running on Broadway at the same time: Real Women Have Curvesand Buena Vista Social Club. This is monumental.

To understand the magnitude of this achievement, we have to look back at the journey Latine stories have taken on Broadway stages:

A Brief History of Latine-Themed Broadway Shows

• West Side Story (1957): Opened the door by depicting Puerto Rican characters and blending Latin rhythms into musical theatre.

• Zoot Suit (1979): Luis Valdez brought Chicano culture to Broadway for the first time.

• Evita (1979): Told the story of Argentina’s Eva Perón.

• The Capeman (1998): Paul Simon’s musical about a Puerto Rican youth in NYC.

• John Leguizamo: Freak (1998): A one-man show highlighting a Latino upbringing in Queens.

• In the Heights (2008): Lin-Manuel Miranda’s landmark celebration of Dominican-American life in Washington Heights.

• On Your Feet! (2015): The life and music of Gloria and Emilio Estefan.

• Real Women Have Curves (2025): A new musical adaptation centered on Latine identity and empowerment.

• Buena Vista Social Club (2025): Celebrating Cuban musical legends and the spirit of Havana.

If you look at this timeline, you’ll notice:
20 years between shows... then 10 years... and now? Two shows running side by side.

And even more promising: Gloria Estefan just announced her next show, Basura, further expanding the landscape.

I am praying and hoping that from this moment forward, it won’t take another 10 years between Latine stories — that we will see ourselves, our families, and our communities reflected consistently on Broadway.

Because representation matters. Because it tells young artists:
“You belong here.”

Congratulations to Buena Vista Social Club and Real Women Have Curves!
And deepest thanks to all those who believed, invested, and fought to make these shows happen.
You are opening the doors wider for all who follow.

I’ve seen beautiful Latine-led stories come close but not make it to full Broadway runs — shows like ¡Americano!, The Mambo Kings, and others that deserved a home.
But today feels different.
Today, we are ready.
The audience is ready.
The community is ready.

Now, the next step is simple but crucial:
The audience must show up. Fill the seats. Say:
"YES, we want this. We are here for this."

Because I know without a doubt that incredible writers and creators like Eric Ulloa, Jesse J. Sánchez, Jaime Lozano, Rebecca Aparicio, Georgina Escobar, Noemi de la Puente, Cristina Angeles, Melissa Crespo, Julissa Contreras, Manuel Moran, Daniel Gutierrez, and so many more are ready — and waiting for the chance to tell the next wave of stories.

Broadway is better when it reflects the true richness of our world. Latine stories are American stories. Latine artists are Broadway artists.

Tonight, we celebrate.

Tomorrow, we build.

¡Pa’lante, siempre!

CON AMOR!

Luis Salgado