Review Roundup: BUENA VISTA SOCIAL CLUB Launches North American Tour

The North American Tour of BUENA VISTA SOCIAL CLUB is now underway. What are the critics saying? Read the reviews here!

The production features Karmine Alers (Omara), Frank Rodríguez (Compay), Mauro Castillo (Ibrahim), Robert M. Jiménez (Rubén), Isabel Gonzalez (Young Omara), Aidan Olmo (Young Compay), Jaleel Battles, Jr. (Young Ibrahim), Irving Aday O’Connor (Young Rubén), San Miguel Pérez (Eliades), Liana Morales (Young Haydee), Holiday (Juan De Marcos), and Erica Simone Barnett, Kwabena Bawuah, Armando Brydson, Jazlyn Carreras, Jhon Destrade, Adrían Guardián, Destinee Jimenez, Alex Llorca, Gabby Rembert, Ralphie Rivera de Jesús, Orgena Rose and Josh Tower.

The BUENA VISTA SOCIAL CLUB band features Nicolas Perez (Music Director, Piano), Abraham Dorta (Guitar), Jorge Bringas (Bass), Ray Contreras (Percussion), Keisel Jiménez Leyva (Percussion), Caleb Michel (Percussion), Ivan Llanes Montejo (Percussion), Roisel Suárez (Trumpet), Ben Romanow (Trombone), Joaquín Sosa (Woodwinds) and Marcos A. Torres III (Musician Swing).

It’s been years since legendary singer Omara Portuondo last entered a recording studio. Once known as the “Queen of Feeling,” her voice was celebrated throughout Cuba – until she vanished from the spotlight. But when an ambitious young record producer brings her a rare opportunity, the elusive diva must finally reckon with her past.

BUENA VISTA SOCIAL CLUB is a journey through music and memory into the beating heart of Havana. A world-class company brings the story of the iconic album to thrilling life in this tale of big dreams, second chances, and music that needs no translation.

Michael Rabice, BroadwayWorld: Director Saheem Ali ensures that the story is told with a laser focus. There is a risk in musical story telling where the lyrics are in Spanish, as well as not always integral to the story. But somehow it always works, whether the song is used as a performance nightclub number or as an inner monologue, emotional exposition. The politics of the era help provide a desperation of sorts for all of the musicians, while elucidating the prejudices among their own country. While some of the book scenes could do with a little more finesse, time will surely help settle them. The exuberant cast is hugely talented and bring this charming piece of musical history to life.

Peter Hall, Buffalo Rising: Speaking of Señor Ramirez, in case you were wondering, his book is a solid blend of truth and storytelling. The music and the legendary Cuban musicians, Omara Portuondo, Ibrahim Ferrer, Compay Segundo, are real, drawn from the 1996 recording sessions that became the global phenomenon. But apart from the Cuban Revolution, the show’s 1950s Havana storyline is largely fiction, created to dramatize their world and give the music a narrative frame. It’s a tribute, not a documentary, honoring the artists while imagining the lives behind the songs. I’m not sure if that’s a spoiler or not. Hopefully not.

Stephen Dubois, Buffalo Theatre Guide: 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.

Average Rating: 86.7%

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