The Atlantic Theater Company seems to have become a primary incubator for terrific Broadway musicals. They’ve already brought us such shows as Spring Awakening, The Band’s Visit, Kimberly Akimbo and the soon-to-arrive Days of Wine and Roses. They’re now poised to do it again with their world premiere of the new musical inspired by the landmark 1997 recording and subsequent Wim Wenders documentary featuring a gallery of veteran Cuban musicians and singers who suddenly found themselves catapulted to worldwide fame. It seems impossible that Buena Vista Social Club won’t follow the same trajectory, since its delirious music practically bursts the seams of the intimate theater where it’s currently housed. The only people who won’t embrace this joyous show either don’t like music or don’t have a pulse.
The show takes place in both pre-revolution Cuba, circa 1956, when the musicians performed at the nightclub that gives the show its name, and forty years later, when they’re reunited by producer Juan De Marcos (a likable Luis Vega) to record an album of the traditional Cuban music that went out of governmental favor after Castro’s rise. We’re thus introduced to younger and older versions of many of the characters, with the primary focus being on singer Omara Portunondo (Natalie Venetia Belcon, terrific), depicted as a temperamental, exacting diva who only reluctantly agrees to work again with a live band.
Juan, who breaks the fourth wall to serve as narrator, introduces the proceedings thusly: “What follows is in no way a historical account. It is not the story of a nation. It’s the story of a band. Not ours, but we’ll do our best.”
The qualifier isn’t necessary, since no one expects the show to strictly adhere to the facts and, more importantly, because the onstage band proves so outstanding that it fully brings the music to vibrant life. Featuring such superb Cuban musicians as tres guitarist Renesito Avich, singer Mel Seme, and woodwind player Hery Paz, the group tears through some fifteen numbers as if they were headliners at the Tropicana.
[Read Sandy MacDonald’s ★★★☆☆ review here.]
The book by Marco Ramirez (The Royale) proves perfunctory at best, providing some obligatory dramatic conflicts such as the younger Omara’s (Kenya Browne) rift with her sister Haydee (Danaya Esperanza) over their attitude toward the revolution and hints about past romantic entanglements between several of the principal figures. Other barely developed subplots include singer Ibrahim Ferrer (Olly Sholtan and Seme, as the younger and older versions) being discriminated against because of his darker skin and a wooden crate stashed in the club that turns out to contain black market guns.
But the lack of a compelling narrative doesn’t matter whenever the music starts, and fortunately that happens very often during the course of the show’s two hours that seem to fly by. Several of the numbers also feature outstanding Latin-infused dances co-choreographed by Patricia Delgado and Justin Peck and exuberantly performed by a six-person ensemble.
The most emotional moments stem not from the melodramatic plot elements but rather the small moments in which the joy of music making comes to the forefront. When Omara reunites with the older Compay Segundo (a delightfully rakish and suave Julio Monge), who’s reduced to singing in a hotel lobby, the pair break into a sweet acapella duet that says more about their relationship than any dialogue. During the recording session, Omara refuses to allow a flautist to perform with the band — at least, until he fearfully starts playing anyway and she slowly succumbs to the gorgeousness of his playing.
Director Saheem Ali (Fat Ham), who’s also credited with “Development,” expertly stages the proceedings which seamlessly switch eras, while scenic designer Arnulfo Maldonado and costume designer Dede Ayite make invaluable contributions (the set depicting both the original nightclub and the rundown music studio seems imported directly from Cuba).
All of the songs are performed in Spanish, with no English translations provided. But with music this joyfully resonant, every emotion comes through loud and clear. Not to mention the dynamic rhythms that will have you moving around so much that the seats should come equipped with seatbelts.
