Review: ON YOUR FEET at Argyle Theatre

When a legend is humanized through the telling of their backstory, we usually find the core of the performance to be relatable, but also the sheer tenacity to fully explain what made them such an icon.

“On Your Feet,” follows Gloria and Emilio Estefan from the humble part of pink fluorescent Miami in the 1970s through their super stardom in the 80s and 90s. The journey includes Gloria and her mother’s clash on her pursuing music, the debilitating disease of her father, a horrific tour bus crash that nearly paralyzed her, and the birth of their son.

Director/choreographer Vincent Ortega, whose previous production of “On Your Feet” actually had the real Gloria in the audience, presented the audience with a high-energy and high-spirit creation with the pulsating determination of love through music.

Musical Directors Jonathan Brenner and Analise Levesque kept the chart-topping songs true to their radio play, but added layers of nuance through well-timed and well-placed reverberations.

Costume Design by Amanda Scanze and Wig, Hair, and Make-up Design by Jinx Kenyon had a beautiful blended representation of the real-life characters without being caricatures. The silhouettes of the three female leads, Gloria, her mother, and her grandmother were wonderfully indicative of their characters with her mother in austere, Armani-esque styles and grandmother in soft, pillowy, flowery dresses that suggested the once calm climate of Cuba.

Kristin Tarragó as Gloria was luminous and held the entire audience in her eyes as she belted Miami Sound Machine hits. Particularly in her pinnacle performance of “Coming Out of the Dark,” she created a kingdom with her voice’s emotionally rich quality. Equally deft at playing a glamorous, major pop star, and a steadfast daughter who takes care of her paralyzed father and eventually younger sister, Tarragó tapped into the psychological cost to Gloria of being excellent, but also having to be reliable for other people to thrive.

Max Cervantes as Emilio gave a performance of deep faith and restful repose in “Don’t Wanna Lose You.” The short-shorts Lothario, Cervantes was strong enough to be believable as the driving force for the Miami Sound Machine’s success but also gracious enough to establish a true partner relationship with Tarragó’s Gloria.

Megan Elyse Fulmer as Gloria’s mother, Gloria Fajardo, was regal and relentless in her role. With Fulmer’s aristocratic profile, her opposition to Gloria pursuing a career as a musician was a seamless extension of her emphasis on education and stability. In “If I Never Got to Tell You,” Fulmer’s quietly powerful performance carried with it the years of estrangement and apology between the two women.

Diana Yanez as her grandmother, Consuelo, was gentle, but robust in her portrayal of unwavering support of Gloria to not settle for just safe. She managed to capture quite a few comedic moments, especially a scene where the soon-to-be Miami Sound Machine is dubious of young Gloria’s abilities and her unicorn naivete of the situation unfolding.

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