Susan Granger’s review of “Buena Vista Social Club” (Linda Gross Theater at the Atlantic Theatre Company: Off-Broadway)
Inspired by Wem Wenders’ 1999 Oscar-nominated documentary, the Atlantic Theatre Company has launched yet another new musical world premiere – “The Buena Vista Social Club” – following its successful “The Band’s Visit,” “Spring Awakening,” “Kimberly Akimbo” and “Days of Wine and Roses.”
Set in 1956 in pre-revolutionary Havana and directed by Saheem Ali, it focuses on the musicians who performed at the nightclub that gives the show its name and follows them to a reunion 40 years later, when producer Juan De Marcos brough them back together to record an album of traditional Cuban music.
Serving as narrator, Juan (Luis Vega), introduces the show with this disclaimer: “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.”
And their ‘best’ is an exuberant, percussive delight as guitarist Renesito Avich, singer Mel Seme and woodwind player Hery Paz deliver one audience-pleasing number after another. While the dialogue is in English, all the songs are performed in Spanish – and the infectious rhythm is universal.
Focusing on second chances, Marco Ramirez’s book finds Juan as a young musicology student/bandleader asserting that Afro-Cuban music has never been properly recognized, particularly legendary singer Omara Portuondo (Natalie Venetia Belcon). To that end, he’s assembled a band and booked studio time, hoping that she will show up.
As for regal Omara, the authentic Cuban music Juan refers to reminds her of days gone by, of real people, real events, real trauma – like when her relatively rich family was labelled as traitors by Fidel Castro’s revolutionaries. When she enlists guitarist/singer Compay Segundo (Julio Monge) as a backup musician, they reminisce about the past.
Years ago, young Compay (Jared Machado) took Omara (Kenya Browne) to this disreputable place called the Buena Vista Social Club. At the time, Omara and her sister Haydee (Danaya Esperanza) were playing at the Tropicana, where Black musicians were discreetly seated beneath the stage.
The theme of Black discrimination/liberation is hauntingly prevalent, as shown through the character of the dapper, dark-skinned busboy Ibrahim Ferrer (Olly Sholotan) singing “Bruca Manigua.”
“Cuba was coming apart,” Juan notes. “Decades under U.S. blockade made life hard. But with the collapse of the Soviet Union, its largest ally, life on the island only got harder, its people were now living through what they called the Special Period – though there’s nothing special about hunger.”
Choreographed by Patrica Delgado and Justin Peck, six dancers incorporate modern dance with ‘50s style, and the musical team was advised by consultant David Yazbek.
Due to popular demand, “The Buena Vista Social Club” has been extended to Sunday, January 28, at the Linda Gross Theater, Atlantic Theatre Company at 330 West 20th Street. There are performances Tuesday, Thursday and Sunday at 7 – Wednesday, Friday and Saturday at 8 – Saturday and Sunday at 2. Call 646-452-2220 for reservations and information.