Buena Vista Social Club Opens with Splendid Choreography

The Broadway debut of "Buena Vista Social Club" at the Gerald Schoenfeld Theatre is a showcase of rich choreography that juxtaposes ballet, Afro-Cuban, contemporary, and diverse social dances. Even though Justin Peck is more lauded for his choreography in "Illinoise," his collaboration with Patricia Delgado for this production is quintessential, profoundly demonstrating the transitioning of Cuba from a prosperous state in 1956 to a nation in turmoil in 1996. The narrative, crafted by Marco Ramirez, explores the 1996 music album creation in Havana, Cuba, amidst the socio-political changes, subtly echoing themes without direct mentions of political figures like Fidel Castro or Che Guevara. The storytelling is multi-layered but avoids the conventional path of becoming a typical jukebox musical. The music, meanwhile, transports audiences to Havana's vibrant nightlife. This production has been noted for exemplary performances, particularly by Natalie Venetia Belcon and Mel Seme, portraying older versions of vocalists Omara Portuondo and Ibrahim Ferrer. The younger cast members, however, show some inconsistency, especially when narrating the early Cuban Revolution. The stage design and direction seamlessly bridge the gap between two radically different historical periods. Ramirez's script, though less factual and more generic than previous adaptions, prioritizes musical numbers over an in-depth storyline. Additionally, while the omission of the running guns storyline from the social club might disappoint some, the show still captivates its audience with heightened performances, leaving spectators enthralled with its preserved rich musical culture. The production under director Saheem Ali, supported by an impressive creative and music team, promises an immersive experience for music lovers eager to delve into the soulful Cuban past.