The spirit of the musical “Buena Vista Social Club” is evident in its opening scene. The audience barely settled in their seats before a group of musicians on stage hit the number “El Carretro.” Some people leaned from their chairs, while others woke up and danced. Music is a central setting and we quickly understand its power as a collaborative experience that brings people together.
That's where the production's greatest achievements come from. Because of where music often plays an important role, Broadway rarely emphasizes the thrill of music.
Ah, there was a show that pulled the curtains effectively into the process. David Ajimi's play “Stereophonic” takes place within the recording studio, with one of the most effective scenes from “Beautiful: The Carole King Musical.” But the interconnectedness of musicians, songs and society was rarely elicited vividly and affectionately, like the Buena Vista Social Club, which opened at the Gerald Schoenfeld Theatre on Wednesday. (This improved version follows the show's off-Broadway run at the Atlantic Theatre Company, which premiered in December 2023.)
As the title suggests, the production, directed by Saheem Ali, is inspired by the 1997 hit album, “Buena Vista Social Club,” where Havana Sheen veterans played the beloved sons of the traditional Cuban repertoire, Dan Zones and Boleros. Many of those songs and others are in musicals (Playville's booklets showcase each one with illustrations of flute player Helly Pass), and most of those musicians and singers. Or at least those versions are. Needless to say, the book by Marco Ramirez (“The Royale”) identifies a character only by his first name.
The action goes back and forth during 1956 during the tense period leading up to the collapse of the dictatorial Batista regime, and when young producer Juan de Marcos (Justin Cunningham) assembles a backing band for the older singer he brought to the studio. (British executive producer Nick Gold and American guitarist and producer Ry Cooder played a key role in the “Buena Vista Social Club” album and the Wim Wenders documentary, but he doesn't mention the musical. Instead, he focuses on the role of De Marcos.)
The show's DeMarcos brings vocalist conpei (Gulio Mongue).
Compay and Omara's first meeting explore the flashback scene and the impact on Omara's life over the decades.
In 1956, Omara (Charis Maisa Antonetti), 19-year-old sister Haydi (Ashley Delarosa) sings the song like “El Cumbancello,” a fast-paced “El Cumbancello,” which is easy for visitors to snatch up into the gorgeous Tropicana club. Young Compey (Davon T. Moody) and master pianist Reuben (Leonardo Reina) take her to the Buena Vista Social Club.
“There are no tourists,” O'Mara, excited, tells her appalling sister, “They're playing for us!” The bitch-eyed, velvet-voiced bass boy (Wesley Ray) hangs out at Buena Vista is also harmless.
Ultimately, O'Mara must make decisions that will have significant consequences for her future and for Hady.
The real Omala Portundo was actually 26 years old and was already an experienced performer in 1956. She was almost 25 years younger than Compey Segundo, but the show doesn't even mention the romantic sparks between O'Mara and Ibrahim Feller. Ramirez cooked this backstory to create more emotional links and therefore more stakes among the singers in 1996, but was overwhelmed by clunky dialogues (especially between the sisters) and a forceful exposition.
Of course, it's not just songs, but movements that work in the 1950s section. Much of that action is done in primitive clubs where dance takes place, so the show can incorporate diet numbers that set the heart race. A major improvement in their move to Broadway Theatre is that choreographers Patricia Delgado and Justin Peck have more space and they make the most of it. Dede Ayite's vibrant costume flows beautifully through her own life with the dancer's body. The two-layer set of Arnulfo Maldonado elegantly evokes not only Havana's wrought iron balconies, but also clubs and recording studios.
Set in 1996 when the actual album was recorded, this scene has more sparks, mainly thanks to the loose relationships between the cast members. Belcon in particular is excellent at dropping dry cut down with high-class people who don't suffer from fools or amateurs.
Throughout, the show touches on who and what are respected as the standard of excellence, emphasizing that Cuban musicians belong to their noble realm. De Marcos tells the older O'Mara that his professor would “extraordinately” composer, as if the best music always comes from somewhere and never comes from here. (The show now ends with a Buena Vista Social Club group performing at Carnegie Hall, which is featured as a place normally reserved for the three European composers.)
But this latest iteration of the “Buena Vista Social Club” franchise makes that claim by making music rather than writing things down. Old Compey introduces Eliedes Ochoa (Renel Avicch) by saying, “playing Tress like Jimi Hendrix of Cuba.” He does that too. Avicch is on stage the whole time and when he is taking a solo he shreds by God.
And after Omara Poopou face to face with the stone, suggesting a flute solo in “Candela,” she is forced to infiltrate a huge smile when Puzz proves brilliantly wrong. The case has been closed.
Buena Vista Social Club
At the Gerald Schoenfeld Theatre in Manhattan. buenavistamusical.com. Running time: 2 hours.
