Cubans rally to support actor Samuel Claxton after report on social media

The name of Samuel Claxton, one of the most popular actors in Cuba for decades, is resonating strongly on social media. Not for a new theater or film release, but due to the public outcry seeking to support him in a critical moment of his life, marked by illness, need, and a lack of state support.

Claxton, 82 years old and with a career spanning over fifty years in theater, film, and television, has been facing a complex health situation for some time.

Two years ago, he underwent surgery for bladder carcinoma and had a percutaneous nephrostomy (the insertion of a catheter through the skin to the kidney to drain urine) a year ago. He needs basic supplies such as catheters and collection bags, essential items for his daily care that, however, are not provided to him by any official institution.

The alert was issued by Libia Batista, the casting director, who recently visited him along with a friend and made an urgent call to gather probes in sizes 16, 18, and 20, as well as collecting bags.

Many supportive people responded to the request.

The user of Facebook, identified as "Alexander Gestor De Alojamientos," shared his experience of locating the actor and personally delivering what he needed, along with food items, through the group "Alamar el barrio."

"I bought some probes with what I could and several that were donated to me. (...) I left him two bags of milk and a snack pasta that Libia told me he loves, and one of the donors gave me a bunch of bananas, which I also took to him. It's not much, but little by little, we can manage," he affirmed.

Alexander assured that he will continue gathering supplies and that he already has more deliveries on the way.

Her publication was accompanied by the address of Claxton and his wife Juanita, for anyone who wishes to contribute: Building C-28, Apartment 9, Zone 6 of Alamar. The landline phone number is 77 65 20 61.

The reaction from internet users was immediate. Many praised the neighbors' gesture of solidarity, while others promised to donate, visit him when their health allows, or simply share the information.

"I helped him move a refrigerator in 1987, and now I'm willing to help him again," expressed an elderly man with emotion.

"I have an 18 French catheter and a urine collection bag; I donate it, I give it to this great actor. I wish I had more to give him what he needs," another woman assured.

But many also expressed their outrage at the institutional neglect. "A professional actor shouldn't have to rely on charity to live. What a shame this system is," wrote a young person.

Social media has become the primary space for organizing these civic initiatives.

The platform Cubaactores and figures from the artistic community, such as actress Yaneisy Sánchez, also joined the call for help.

Beyond solidarity, the case of Samuel Claxton has ignited an inevitable debate about the responsibility of the Cuban State towards its cultural figures.

"The minimum is that it has its probes and collector without the need to ask," reads one of the comments.

Behind that phrase lies a growing frustration: the one felt by many regarding the passive attitude of the Ministry of Culture and the UNEAC (Union of Writers and Artists of Cuba), which often pays posthumous tributes but rarely intervenes promptly in situations of vulnerability.

Claxton's story, unfortunately, is not unique. More and more retired or ill artists are surviving thanks to the efforts of the community, while they face a precarious old age in a country where medical resources are scarce and the material recognition of their cultural contributions is often symbolic, if not non-existent.

Born in Camagüey in 1943, Claxton left an indelible mark on Cuban art. His role as Mantilla in the iconic series "Su propia guerra" made him a familiar face for millions.

He appeared in films such as "En 3 y 2," "Los días del agua," "Retrato de Teresa," "Caravana," "Operación Fangio," and "La última cena." In theater, he made a mark in "María Antonia," "Divinas palabras," "Santa Camila de La Habana Vieja," among others.

Despite that impressive trajectory, today it relies on the goodwill of those who remember it with affection and gratitude.

In a country where culture has been a banner and ideological support for more than half a century, it is paradoxical—and infuriating—that its most illustrious figures end up forgotten by the institutions that should protect them.

Today, in Alamar, the solidarity of a few has given Samuel Claxton some relief. But the question remains: How long will the dignity of our artists depend on the voluntary efforts of their community?

Frequently asked questions about the Samuel Claxton case and the situation of artists in Cuba