Cris Miró

Cris Miró (16 September 1965 – 1 June 1999) was an Argentine entertainer and media personality who had a brief but influential career as a top-billing vedette in Buenos Aires' revue theatre scene during the mid-to-late 1990s.

Cris Miró was born on 16 September 1965, in Buenos Aires to a retired military man and a housewife.

Although assigned male at birth, Miró was effeminate from a very young age.

Her brother Esteban Virguez described Miró's childhood as a little boy: "Cris was different since he was born, (...) he did not like football, he played with dolls and my dad was the typical macho of those times and Cris was like a girl, when we were walking down the street they always confused him with a girl. At that time we were ashamed, somehow my dad and I tried to hide it. Not my mother, Cris identified with my mother, he saw her shoes, her dresses. It bothered us."

After finishing secondary school, Miró began studying dentistry at the University of Buenos Aires.

She studied dance at Julio Bocca's school and acting with Alejandra Boero at the same time that she studied dentistry.

In the late 1980s, Miró met theater director Jorgelina Belardo at Bunker—a popular gay club in Buenos Aires—who asked her to join a theatrical production group that Belardo had formed with Juanito Belmonte.

Belardo became Miró's close friend and artistic director, while Belmonte worked as her press agent.

Working with them, Miró made her fringe theatre debut in the plays Fragmentos del infierno—based on a text by Antonin Artaud —and Orgasmo apocalíptico, which focused on sexuality issues more explicitly.

Miró began her acting career in the early 1990s in fringe theatre plays and later rose to fame as a vedette at the Teatro Maipo in 1995.

She is now regarded as a symbol of the Argentine 1990s.

As such, she is regarded as a symbol of the social milieu of the Argentine 1990s and an icon of the decade.

She paved the way for other Argentine travestis and trans women to gain popularity as vedettes, most notably Flor de la V, who described her in 2021 as the "first trans [person] that the public recognized as an artist" and a "shooting star that lasted only a short time on earth [but] will continue to illuminate the way forever."

Prior to her career as a vedette, Miró made film appearances in Fernando Ayala's Dios los cría (1991) and Luis Puenzo's La peste (1992), based on Albert Camus' novel of the same name.

In 1994, Miró went to a casting call at Teatro Maipo, one of the most important venues in the Buenos Aires revue theatre scene (in Spanish teatro de revistas), which was a widely popular genre at the time.

She only presented herself as a female once on stage, performing a strip-tease to a Madonna song.

Producer Lino Patalano immediately cast her as a vedette for his show Viva la revista en el Maipo, which premiered in 1995 and quickly made her a celebrity.

Miró appeared at Mirtha Legrand's famous television program, in which guests have lunch with her and are interviewed.

That broadcast is now infamous for the uncomfortable questions that Legrand asked Miró, such as her dead name or if "it bothers you that people know that you are really a man".

At that time, questions like these were common to transgender guests on television, but are negatively assessed in retrospect.

In an interview with Revista NX in 1997, Miró reflected on her impact:

I am very grateful for what is happening to me, and this has helped open doors for other people.

(...) But I do not forget many people who were there and tried, who worked a lot and continue to do so.

This regarding the commercial circuit.

But it was also important because of all the prejudice that existed around travestis, who were related to [street prostitution], or with the transformistas (...).

I think that in a few years these beliefs changed a lot.

For years, she hid her HIV positive status from the press until her death on 1 June 1999, due to AIDS-related lymphoma.

As Jorge Perez Evelyn in the 70’s, Cris was also a travesti celebrity in Argentina, she caused a media sensation and paved the way for the visibility of the transgender community in local society.

Nevertheless, her figure was initially questioned by some members of the burgeoning travesti activism movement, who resented the unequal treatment she received compared to most trans people.

On 20 May 1999, Miró was hospitalized in the Santa Isabel clinic in the Buenos Aires barrio of Caballito, where she died on 1 June.

The press had long speculated that the entertainer lived with HIV/AIDS, although she and her family and friends always denied it.

Miró actually did live with HIV and had been hospitalized for this on previous occasions, choosing to hide it from the media out of fear that the stigma between homosexuality and the virus would affect her career and family relationships.

According to Jorgelina Belardo, a sector of the press threatened to disclose her HIV diagnosis if she refused to give interviews.

Upon her death, Miró's personal assistant Jorge García and her friend Sandra Sily denied the reports of HIV complications and told reporters that she died due to a lung condition.

Later that day, Miró's manager Juanito Belmonte—although maybe Jorge Belardo— confirmed that her cause of death was lymphatic cancer.

Although this was true, for many years it was publicly concealed that the lymphoma was indeed AIDS-related.

This was confirmed when her brother Esteban Virguez disclosed it to journalist Carlos Sanzol in 2010, who later revealed it in his 2016 biography on Miró titled Hembra.

After gaining popularity as a vedette, Miró became a national media sensation for the perceived gender bender aspects of her image, and is considered a symbol of the postmodern era in Argentina.

As the first Argentine travesti to become a national celebrity, she has been considered the "first trans icon of the country".

Miró's presence meant a change in the Argentine showbusiness of the era and popularized transgender and cross-dressing acts in Buenos Aires' revue theatrical scene.