“Buena Vista Social Club” on the trail of Afro-Cuban tunes
It may seem odd to find, right in the middle of a busy Broadway season, a musical whose score consists exclusively of songs performed in Spanish, but such is the case with this exhilarating production that takes place alternatively in Havana in 1956 and in 1996. While the dialogue is in English, the musical numbers are a collection of Afro-cuban tunes from the golden age of that island’s music, many written in the 1930s and 1940s, including some which have become hits around the world like “El Cumbanchero”.
Set in a popular club that was eventually closed by Fidel Castro when he seized power in 1959, the simple narrative built around these popular songs relates the story of Omara Portuondo Peláez, a splendid vocalist who became a celebrated performer in her native Cuba, at the edge of Castro’s tenure, before she was again discovered when she joined the Buena Vista Social Club, a band named after the club that was put together in 1996.
After her sister, Haydee, also a singer afraid of the changes brought by the revolution, chooses to go to the States where a recording contract is awaiting her, Omara decides to pursue her own career at the Buena Vista where she has met popular success singing songs issued from various local styles like boleros, danzón, son Cubano, as well as jazz. When the club has to close, she retires until, some forty years later, she is brought back to performing when she joins a group formed by Ry Cooder, a fervent admirer of traditional world music, and Nick Gold, a British record producer, to participate in an album that soon becomes a hit worldwide. This in turn leads to a tour in various countries with an ensemble named after the club and that recording.
The book, by Marco Ramirez, spells out that story in short scenes that are well defined, but the main attraction is the several musical numbers performed by a sensational band made up of great virtuoso instrumentalists on stage most of the time (David Oquendo on guitar, Gustavo Schartz on bass, Javier Diaz, Roman Diaz and Mauricio Herrera on percussion, Jesus Ricardo on trumpet, Eddie Venegas on trombone, and particularly Hery Paz on flute, Renesito Avich on tres guitar, and Leonardo Reyna on piano, with Marco Paguia conducting). These explosive numbers [a booklet included with the Playbill details the meaning and the origin of each song] elicit an enthusiastic response from the audience, with several dance numbers choreographed by Patricia Delgado and Justin Peck that make the show an even more exhilarating spectacle.
As Young Omara, Isa Antonetti is a shining newcomer who adds an attractive note to most of the songs, with Natalie Venetia Belcon providing her striking vocal talent as the older Omara. As Haydee, Ashley de la Rosa, also making her Broadway debut, is seductive in a role that might have gained at being more visible. Other talented performers who add their own touch to the development of the story include Julio Monge as Compay, Justin Cunningham as Juan de Marcos, Mel Semé as Ibrahim, and Jainardo Batista Sterling as Rubén, all of them characters involved in the development and success of Omara’s career, while a large ensemble of actors and dancers bring a vibrant energy to the entire production, in Saheem Ali’s solid direction.
The show, which enjoyed its first run off Broadway in November 2023, is a surprising welcome addition to the current season and proves to be a total delight. It is, to put it simply, a real breath of fresh air …
Music Supervision: Dean Sharenow • Music Director: Marco Paguia • Choreography: Patricia Delgado & Justin Peck • Scenic Design: Arnulfo Maldonado • Costume Design: Dede Ayite • Lighting Design: Tyler Micoleau • Sound Design: Jonathan Deans • With: Natalie Venetia Belcon (Omara), Julio Monge (Compay), Mel Semé (Ibrahim), Jainardo Batista Sterling (Rubén), Isa Antonetti (Young Omara), Da’von T. Moody (Young Company), Wesley Wray (Young Ibrahim), Leonardo Reyna (Young Rubén), Renesito Avich (Eliades), Ashley de la Rosa (Young Haydee), Justin Cunningham (Juan de Marcos) and others • Band: Javier Díaz (Percussion), Román Diaz (Percussion), Mauricio Herrera (Percussion), David Oquendo (Guitar), Marco Paguia (Piano), Hery Paz (Woodwinds), Jesus Ricardo (Trumpet), Gustavo Schartz (Bass), Eddie Venegas (Trombone)
Cover photo: Matthew Murphy