Review: BUENA VISTA SOCIAL CLUB at Shea's Buffalo Theatre

The Buffalo theatre season most assuredly opened with a bang as the first national tour of the hit  Broadway musical BUENA VISTA SOCIAL CLUB launched in the Queen city right here at Shea's Buffalo Theatre. The Latin rhythms were infectious and the energy sizzled as the spectacular production took to the stage for it's first performances before hitting the road to  travel around the country.

It is always a treat for Western New York to be able to host a prestigious theatrical production through it's technical rehearsals, allowing the entire cast and creative team to set up shop at Shea's in preparation for touring.  The Director of the   Original Broadway production of BUENA VISTA SOCIAL CLUB, which is still running on Broadway,  also leads this tour.  Over 100 artists have been in the community and some company members from BUENA VISTA SOCIAL CLUB   have joined The Hispanic Heritage Council of Western New York alongside members of the community for a featured performance as a kick-off of  to Hispanic Heritage Month

 

The story is a memory play that takes place in Cuba in 1956 and 1996.  A young upstart producer hopes to bring the lead singer of the famed Buena Vista Social Club out of retirement to make one more record with the old gang. In doing so, we flash back to her youth and the potential that she once had as half of a sister act in old Havana before the Cuban revolution. In the early 1950's, Havana was a hotspot for music and tourism, full of night clubs with more mainstream music, but also full of back alley "social clubs" were black singers sang with equally great talent in seedier joints.  The story of  one of the seedier clubs, The Buena Vista Social Club is a true one, and their music was indeed recorded and sold millions of copies, but their story is  mostly untold. Up until now.

 

With a book by Marco Ramirez and a story developed by Saheem Ali, the score is entirely made up of authentic Spanish songs by the Buena Vista Social Club. But rest assured, a knowledge of Spanish is not necessary to be captivated.  The young sisters Omara and Haydee share a budding act at the Tropicana club in 1956, and Haydee dreams of a big recording contract with Capitol records to get them out of Havana. But Omara drifts to the dark part of town, lured by young musicians   Ruben and Compay. There Omara finds the music she craves, and is smitten with a young black singer Ibrahim.  The sisters struggle for different lives.  Interspersed is the 1996 story of older Omara being coaxed out of retirement to make one more record with some of the old gang. Memories are stirred, and a heartfelt story unfolds.

 

Karmine Alers is the older Omara, and she is the heart and soul of this production. Stoic yet comical, coy yet playful, Alers captivates with her calm presence until she lets loose. Her singing can be sultry and lyrical, but then full on throaty and passionate. When she  gracefully lifts her arms to feel the beat, you can't help but yearn to be  dancing along side her.  Her younger self is beautifully played by Isabel Gonzalez, who sings with strong conviction and exudes youthful courage. Gonzalez commands the stage when needed and morphs from subservient sister to  true star.

Frank Rodriguez is having a ball on stage as the older Compay,  the sexy and playful baritone who is game for anything and has a story for everything. He charms everyone, including Omara, and shines in all of his scenes. Aidan Olmo is young Compay, and is equally as charming at every turn and lands some great comic lines.

 

Jaleel Battles Jr is a powerhouse as the young black busboy turned singer Ibrahim. This lanky shy young man has a star turn that raises the roof, as he sings a spiritual of sorts and then dances with abandon unleashing inner turmoil. Battles' singing is matched by his adept acting, making him a truly sympathetic character. Thanks to the fine front story established by Battles, when we meet older Ibrahim, we equally fall in love with him, played preciously by  Mauro Castillo. Castillo sings with the same purity as Battles, but with some of the pangs that age brings to everyone. His final encounter with Omara was quite emotional.

Liana Morales turns is a fine portrayal as Haydee, always in control, singing with pop and finesse. Irving Aday O'Connor is spectacular as young Ruben, bashful and nervous, until he gets in front of the piano-- and boy, can that boy play! Robert M. Jimenez as older Ruben is given a brief moment to shine, to the delight of the audience.

 

The musicians are on stage at all times and they are an absolute integral part of the story and action. Special note to San Miguel Perez  as Eliades who plays the Tres like the devil and a god at the same time.  Trombonist Ben Romanow is jiving and dancing at every opportunity and Joaquin Sosa gets his moment to shine on the flute (you'll need to see the show to see his solo).

 

Having won TONY AWARDS for their Choreography, Patricia Delgado and Justin Peck's  work  is a constant flow on kinetic energy, full of salsa sway, limber arm movements and propulsive energy. The large ensemble lithely execute each movement, whether in solo, tandem or in group clusters. Some lovely homages to classic dance from the likes  of Agnes deMille could be seen as Young Omara struggles when packing to potentially leave her homeland.

 

Costumes by Dede Ayite are colorful and period specific, playing off of the spectacular color palette of the warm Havana climate.  The clothing is impeccably tailored, as was typical of the era. Scenic Design by Arnulfo Maldonado was evocative of the tropics, with open windows, carved railings, ocean vistas and drab night clubs.  More flashy scenes and costumes made appearances when needed to show contrasts.  Lighting by Tyler Micoleau was wlways effective at setting mood and temperature. You felt the excitement, the sweat, or the drabness thanks to Micoleau's attention to detail.