Buena Vista Social Club Takes Viewers on a Nostalgic Journey

The Broadway company of Buena Vista Social Club. Photo by Matthew Murphy.

Preserving something beautiful is a worthwhile endeavor, particularly when that “something” is of great cultural importance. That lofty goal is exactly what the album/ensemble Buena Vista Social Club accomplishes, and the same can be said for the musical of the same name, now gracing the stage at the Durham Performing Arts Center. The musical, which details the creation of the acclaimed 1997 album, was developed and directed by Saheem Ali. Set to the transportive music of the group and incorporating both solo songs and well-known favorites from the album, the musical explores the personal and artistic lives of four of the key musicians. The story moves smoothly between the 1950s, when these artists were performing in Havana during the rise of Fidel Castro, and the 1990s, when they united to create the legendary album.

Holding the story together are Juan de Marcos (Holiday), who conceptualizes the album and turns it into a passion project, and Omara Portuondo, the brave, strong-willed musician who stays true to both the music and the country she loves, despite resistance from her sister, Haydee (Liana Morales), who longs for an easy escape from the troubling political climate of the 50s. Omara is portrayed in her tough-but-sweet younger years by a feisty Isabel Gonzalez and by Karmine Alers in her golden years. The older Omara is still wonderfully stubborn, but her stubbornness has turned into a reluctance to revisit her musical past.

As Juan de Marcos lovingly wheedles and borderline begs for her involvement on the album, Omara is forced to relive old memories. She reunites with vocalist Ibrahim Ferrer and musicians Compay Segundo and Rubén González, and together, they relive their stories, both internally and through the poignant vignettes that form Marco Ramirez’s richly characterized book. 

As their tales and their lives intertwine across both decades, viewers gain insight into the hurdles they faced. Young Ibrahim’s struggle to cross the immense racial and social barriers of the time is particularly illuminating, and Jaleel Battles Jr. brings real charm and a sweet tenderness to the role. Likewise, both the younger and older versions of Omara are fully realized, with Alers offering a weathered-but-not-beaten portrayal.

The intricacies of their stories are told with the gorgeous, time-sweeping score serving as an effective immersive device. Live musicians offer up songs that evoke everything from joy to intense sadness and longing, while Patricia Delgado and Justin Peck match every mood and moment with their expansive choreography. Their balletic, slow-burn dance set to “Chan Chan” is one of many highlights. The music and dance blend effortlessly into Arnulfo Maldonado’s simple but lovely scenic design, which stirs up a sense of nostalgia with its background of picturesque sunsets and smoky stages. Add in Tyler Micoleau’s subtle lighting touches and Dede Ayite’s iconic, culturally-inspired costumes, and the “good view” the title alludes to is clear and present.

What is even clearer, however, is the heart and the care that went into both the original album and this lovingly-rendered musical history. Buena Vista Social Club is about holding onto the parts of our stories, both painful and beautiful, that make us who we are, without allowing them to limit or destroy us. That hopeful message leaps off the stage and becomes a dream-fueled journey into a bygone era. It touches on the edges of today and weaves a seamless web between the past and the wide-open future.

-Susie Potter