The sounds of Cuba come to vibrant life on Broadway tonight in Buena Vista Social Club, the musical new musical based on the legendary album of the same name. The critics have weighed in. Read their reviews of Buena Vista Social Club below!
In Buena Vista Social Club, step into the heart of Cuba, beyond the glitz of the Tropicana, to a place where blazing trumpets and sizzling guitars set the dance floor on fire. Here, the real sound of Havana is born—and one woman discovers the music that will change her life forever.
The musical is inspired by the true events that led to the Grammy Award-winning album. Buena Vista Social Club’s self-titled album was released in 1997. It was created by an ensemble of Cuban musicians and directed by Juan De Marcos González and Ry Cooder. The album was both a critical and commercial success, and led to a performance at Carnegie Hall in 1998. The album’s creation was captured in a 1999 documentary of the same name.
The musical features a book by Marco Ramirez and direction by Tony nominee Saheem Ali. It is choreographed by Patricia Delgado and Tony Award winner Justin Peck and will feature a music team led by Tony Award winner David Yazbek and Music Supervisor Dean Sharenow.
The Broadway company features Natalie Venetia Belcon, Julio Monge, Mel Semé, Jainardo Batista Sterling, Isa Antonetti, Da’von T. Moody, Wesley Wray, Leonardo Reyna, Renesito Avich, Ashley De La Rosa, and Angélica Beliard, Carlos Falú, Héctor Juan Maisonet, Ilda Mason, Marielys Molina, Sophia Ramos. Ready to feel the beat? Don’t miss an unforgettable tale of big dreams, second chances, and the power of art to help us survive.
Elisabeth Vincentelli, The New York Times: But this latest iteration of the “Buena Vista Social Club” franchise makes its point by making music instead of spelling things out. The older Compay introduces Eliades Ochoa (Renesito Avich) by saying that he “plays the tres like a Cuban Jimi Hendrix,” referring to a kind of Cuban guitar. He does, too: Avich is onstage the entire time, and when he takes a solo, by God, he shreds.
Adam Feldman, Time Out New York: Fortunately, the plot is just a hanger for the musical numbers, which is where Buena Vista Social Club comes to thrilling life. The show makes no attempt to rope its score into character work; all 15 songs, of which 10 were part of the original 1996 recording sessions, are presented as performances in nightclubs or studios, sometimes heightened by the six excellent dancers who execute Patricia Delgado and Justin Peck’s gorgeously fluid and individuated choreography. The lyrics are untranslated, but that hardly matters. The music itself is the story.
Michael Sommers, New York Stage Review: Giving authenticity to this latest jukebox show, notable Hispanic artists appear among the dozen musicians who grace a bandstand usually kept at center stage during the proceedings. They masterfully deliver variously swinging or sorrowful or sensual arrangements of vintage heartbreakers like ‘Dos Gardenias’ that illustrate and/or decorate a nostalgic, at times dramatic, storyline set mostly in mid-1950s Havana as the coming Cuban Revolution smolders. I am no authority on Afro-Cuban anything, but it is wonderfully easy to drown in the dreamy music lovingly being made by the artists who light up the Gerald Schoenfeld Theatre.
Bob Verini, New York Stage Review: In the end, the fuel that powers both show and movie is of two types. There’s the sheer joy of folks of all ages coming together to celebrate a shared musical culture; the sense of community engendered is palpable and hits you where you live, even if you don’t understand a single word of Spanish lyrics. And through the swirling choreography of Patricia Delgado and Justin Peck, the ensemble of six youngsters repeatedly echo in movement the sainted emotions of the score.
Frank Rizzo, Variety: But this deeply rooted music is a powerful magnet not only for her but for the audience, too, even if some wouldn’t know a bolero from a guajira. Though all lyrics are untranslated, the essence is easily understood and deeply felt. You don’t have to be Cuban to feel the nostalgia, romance, loss, liberation, joys, and pride in such well-lived music.
Jesse Hassenger, The Guardian: What tunes, though, and what a thrill to see these particular live performances. Obviously, there are plenty of venues for live music in New York and elsewhere, but the precise experience of watching actors, dancers, and a full razor-sharp band all integrated on stage together is difficult to replicate.
Juan A. Ramirez, Theatrely: On a recent Saturday matinee, the roars of the crowd following every song were akin to a [insert any popstar] at MSG. The music won the world over in the late nineties for a reason. Its delicious blend of Cuban rhythm and Afro-Cuban percussion harkens back to the heyday and Golden era of Havana, yet feels timeless and perfect for today. It’s a sound we don’t get all that often on Broadway, and boy, do I hope it stays a while.
Robert Hofler, The Wrap: Buena Vista Social Club is the story of survival through the preservation of what artists do best, not only for them but for a whole island and its culture.
Matt Windman, amNY: The ideal way to present ‘Buena Vista Social Club’ would have been as a nightclub concert or a revue that discarded the new book altogether.
Chris Jones, The New York Daily News: Still, few people in the house are there for the story. They bought tickets to hear the great music and watch the thrilling dance, here rendered as an ebullient social form with balletic flourishes, as skillfully crafted by co-choreographers Patricia Delgado and Justin Peck. Bravura performances flow to the ear and eye from pretty much the entire company.
Johnny Oleksinki, The New York Post: Really, though, the plot is just a means to more exceptional music. What gets our blood pumping is the fabulous onstage band that stirringly performs some 20 numbers, including ‘Chan Chan’ and ‘Dos Gardenias.’ The songs are accompanied by Patricia Delgado and Justin Peck’s vibrant, fluid, full-bodied choreography that’s so athletic and rubbery it makes you question if the dancers actually have bones.
Average Rating:
86.4%
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