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Review: Head Over to the Buena Vista Social Club
March 19, 2025, 10:03.49 pm ET

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Photo: Matthew Murphy

By Brian Scott Lipton

In our topsy-turvy world, I am not sure I agree with the proclamation made in the “Buena Vista Social Club” that “there’s nothing a song can’t fix.” But should any question persist whether “music is the universal language of mankind,” all you need to do is head to the Schoenfeld Theater and take in this truly joyful musical to prove this age-old adage is true.

While many audience members will not understand a single word of the many Spanish-language songs performed by the outstanding troupe assembled by director Saheem Ali over a fleet-footed two hours, I can’t imagine anyone not feeling the heartache and joy entrenched in these tunes, which cover such subjects as fidelity, secret love affairs, and racial equality. (A helpful insert explaining the origin and plots of these songs is now enclosed in the Playbill -- one of the many changes since the show’s 2023 mounting at the Atlantic Theater.)

What is likely to be familiar, however, is the show’s title, whether you know it from the iconic 1997 album or the Oscar-nominated 1999 documentary of the same name. However, Ali, creative consultant David Yazbek and, especially, playwright Marco Ramirez have taken a much different approach to the material than the movie did.


Photo: Matthew Murphy

The rather slight story takes place in both 1956, when Cuba is about to destroyed by the Communist revolution, as well as in 1996, where young record producer Juan De Marcos (Justin Cunningham) is trying to record an album of the “golden age” of Cuban music with the legendary, reclusive singer Omara Portuondo (sweetly played as a young woman by the wonderful Isa Antonetti and powerfully embodied in later years by the regal Natalie Venetia Belcon).

Omara has been out of the spotlight for six years -- steeped in a world of loneliness and regret – and less than eager to step back into any recording studio, even with the entreaties of her old friend, the charming guitarist Compay (Julio Monge, thoroughly ingratiating). During her “retirement,” she’s been rethinking the decades-long loss of any communication with her older sister Haydee (a forceful Ashley De La Rosa), who fled Cuba in 1956 while Omara stayed behind to pursue her musical and personal dreams, as well as her lost connection with her former lover Ibrahim Ferrer (the very fine Wesley Wray and Mel Seme, both making the most of relatively small roles). For Omara, music is both a source of great joy and unbearable sorrow.

All of what ultimately happens unfolds on Arnulfo Maldonado’s impressive bi-level set, which performs multiple duty as the touristy Hotel Tropicana (where Omara and Haydee originally performed), a recording studio, and most importantly, the actual Buena Vista Social Club, which was located on the “wrong” side of Havana.

Once again, Dede Ayite proves to be invaluable, creating a wide away of period-authentic and brightly colorful costumes that instantly put us in the right time and space, while lighting designer Tyler Micoleau and sound designer Jonathan Deans also offer up exemplary work.

Major kudos also belong to the six ultra-talented dancers who brilliantly execute the sometimes sultry and often exuberant choreography by married couple Patricia Delgado and Justin Peck. (That some of the moves are highly reminiscent of Peck’s work for the film version of “West Side Story” or last year’s Broadway hit “Illinoise” is not altogether surprising.) Frankly, I’d love to have seen more of them!

Most astonishing, though, are the 10 extraordinary musicians (led by music director Marco Paguia) who make up the band (in both eras). They send irresistible sound waves that emanate throughout the theater and straight into the heart, making the Schoenfeld the hottest club in NYC.

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