He said by Stephen Dubois

In most cases, songs in musical theater either propel the story forward or heighten and reinforce the emotion of a particular scene. But Buena Vista Social Club is different. The Spanish lyrics aren’t necessary to understanding the story; the dialogue is spoken in English, but the songs remain in their original Spanish. Here, the music itself is the story. It is the heart, the soul and the driving force of the entire work, and the score is not simply vital to the production—it is its very reason for being.

Set between 1950s Havana and the 1990s, the musical tells the story behind the recording of the legendary and Grammy-winning Buena Vista Social Club album. Cuban musician and producer Juan de Marcos González (played by Holiday) sets out to reconnect a scattered musical past. He assembles a remarkable group of veteran musicians with the goal of recording the traditional Cuban music that had been pushed into the background before it is lost forever.

One performer in particular, Omara Portuondo (Karmine Alers), is an important cog in this musical wheel, and we meet her years later, retired from music and stubbornly opposed to getting involved again. Through flashbacks, we see Omara (Isabel Gonzalez) and her sister Haydee (Liana Morales) performing at the glitzy Tropicana Club, and we begin to understand why Omara ultimately broke from the lure of fame and pursued something her heart wanted more: a community of musicians and the music itself.

She finds that community in Havana’s less glamorous neighborhoods at the humble Buena Vista Social Club—bristling with energy and alive with passion. These are her people. And as the story moves between the past and the 1990s, we begin to understand why rekindling that musical fire is both so difficult for Omara and so important.  In the end it is the music that heals her.

The scenic design is relatively simple and largely static, but beautifully lit and wonderfully nuanced. Weathered surfaces, chipping paint and rustic textures create a Havana that feels lived-in rather than constructed. Set pieces move in and out from the sides and above, while some particularly lovely visual surprises appear on the balcony overlooking the stage. Sliding panels at the rear reveal the walls of the recording studio, while the band occupies a raised platform that can command the full focus of the stage before receding into the background to allow the dramatic action to take place in the foreground. This works as a metaphor as well, because it tells the audience that the musicians are always there and their music is never far away, creating a nonstop heartbeat beneath the story.

And what a band this is. The synergy, the solos, the fervor and the fun they had playing together was evident throughout. You could literally see the smiles on their faces as they performed.  And the sound was excellent and balanced throughout.  Bright and clear which is sometimes a big ask in this former movie theater.

An immediate and enthusiastic standing ovation began as the curtain calls commenced. But as the applause continued, it was the band that took the final bow. And rightly so. The talent was unbelievable—many of them virtuosos—and it reinforced the point of the entire show: that the music itself is the leading character in this work. And preserving its significance—and, perhaps more importantly, its legacy—is paramount.

She said by Cherie Messore

Buena Vista Social Club is everything he said and more. The 1999 documentary of the same name captured the raw energy and passion of Cuban music and examined the political divide which kept the musicians in their community. The more personal story Omara and Haydee were less emphasized. But the stage is so much more intimate than film and having their story at the center brought even more heart to the production.

If that wonderful, rhythmic music gave the story its heat and passion, the dance and stage movement gave the story its soul. The choreography was incredible. From the 1950s Latin swing dancing to the smooth way dance gave way to time-hopping stage movement, Patricia Delgado, Justin Peck, and Carlos Falu propelled characters with purpose. It’s this non-verbal storytelling that transcended time and language: often characters seamlessly danced their way through scene changes as set pieces moved in and out. The dance became part of the transition and it was beautifully, almost magically executed. Where language might be a barrier with the Spanish song lyrics, this precise and stunning stage movement conveyed plenty of emotion, from joy to yearning to hope.

The whole experience here is a feast for the senses. Notably mature Omara’s attire – bright, colorful – told her story before she said or sang a word. When we meet her, she admits to not singing for six years, but the visual energy is so strong, you feel the songs that are still in her soul.

Buena Vista Social Club is a little over two hours long with a 15-minute intermission and runs to September 19. Find tickets and details here https://www.sheas.org/performances/buena-vista-social-club/ and these is also a cheat-sheet for the Spanish song lyrics, too.