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Exploring the Fusion of Dance and Narrative in “Buena Vista Social Club”
Following his Tony Award win last year for Best Choreography with “Illinoise,” Justin Peck has garnered attention once more through his collaboration with Patricia Delgado in the new musical “Buena Vista Social Club.” This production, which premiered at the Gerald Schoenfeld Theatre, offers a rich tapestry of choreography that incorporates ballet, Afro-Cuban influences, contemporary styles, and various social dances that coalesce into a vibrant performance.
While the performance features a rotating ensemble of dancers, the spotlight shines prominently on six exceptionally talented individuals: Angelica Beliard, Carlos Falu, Hector Juan Maisonet, Ilda Mason, Marielys Molina, and Anthony Santos. Their skills are so captivating that an acknowledgment of their contributions feels necessary from the outset.
However, “Buena Vista Social Club” transcends mere dance. It is not a traditional jukebox musical, despite featuring around half of its 18 songs from the iconic 1996 album of the same name. The narrative, penned by Marco Ramirez, intricately recounts the album’s creation in Havana, offering a poignant look back at a reunion among musicians and singers who had not performed together since 1956.
The choreography by Delgado and Peck serves as a bridge between the two distinct eras of 1996—a time marked by Cuba’s economic struggles following the Soviet Union’s collapse and enduring U.S. sanctions—and 1956, a period of relative prosperity on the brink of profound political change. Although historical figures like Fidel Castro and Che Guevara go unmentioned, their influences linger in the atmosphere of the narrative.
Central to the story are the social clubs that nurtured the music represented on the 1996 album, which was brought to life through the ambitions of producer Juan de Marcos, portrayed by Justin Cunningham with an admirable tenacity. Notably absent from the narrative is American guitarist Ry Cooder, who played a pivotal role in the album’s production.
In contrast to typical jukebox musicals, where songs are often force-fitted into the storyline, the music in “Buena Vista” is employed to evoke emotions and set the ambiance rather than to advance the plot line. The songs are delivered in a style reminiscent of their original performances in Havana’s vibrant social settings.
Ramirez’s narrative echoes themes found in works like “Ma Rainey’s Black Bottom” and “A Star Is Born,” but it eschews the dramatic tropes of murder or suicide, opting instead for a more nuanced exploration akin to “Dreamgirls.”
The story launches into the life of young singer Omara, portrayed by Isa Antonetti, who performs alongside her sister Haydee (Ashley de la Rosa) in Havana’s elaborate tourist venues. Omara’s heart, however, lies with Ibrahim (Wesley Wray), whom she prefers to perform with in intimate social clubs, presenting conflict as her ambitious sister seeks a different path. Circumstances lead Haydee to escape to America while Ibrahim is left behind, fading into the backdrop of Cuban rural life.
The narrative is further enriched by flashbacks to 1996, where the older Omara (Natalie Venetia Belcon) sets out to record the “Buena Vista Social Club” album, and reconnects with the now older Ibrahim (Mel Seme), who struggles for survival on the streets of Havana. This musical emphasizes the enduring spirit of creativity and survival within a culture that has both thrived and faced adversity.
Belcon’s command of the stage resonates deeply, drawing parallels to the challenges of August Wilson’s iconic character Ma Rainey. Her performance imbues the show with a powerful presence, linking her current role to her earlier work as Gary Coleman in “Avenue Q” two decades prior, showcasing her versatile talent across vastly different characters.
While Belcon and Seme reprise their roles from the Atlantic Theater production, some recent casting changes with younger actors have resulted in mixed performances. While vocal talents shine, moments requiring significant exposition regarding Cuba’s revolutionary past occasionally falter.
The seamless collaboration between Delgado and Peck’s choreography and Saheem Ali’s direction enhances the overall experience. Ali skillfully navigates the multi-level set designed by Arnulfo Maldonado, guiding the audience through varying time periods in Cuba’s rich history.
Although “Buena Vista” has evolved from its Off-Broadway roots, certain elements, such as the thrilling climax at the end of Act 1, remain standout moments. Notably, the omission of a subplot involving illegal arms dealing has altered the narrative slightly, rendering this version a touch less impactful than its predecessor.
Source
www.thewrap.com