‘BUENA VISTA SOCIAL CLUB’: The cast. Photo: Matthew Murphy.

BUENA VISTA SOCIAL CLUB
Book by Marco Ramirez
Music by Buena Vista Social Club
Choreography by Patricia Delgado & Justin Peck
Directed  & developed by Saheem Ali
Gerald Schoenfeld Theatre
236 West 45^th Street
https://buenavistamusical.com/

By Scott Harrah

Don’t miss this joyful tale of music in Cuba told during two separate time periods: In the 1950s, in the days before the Cuban Revolution, when President Fulgencio Batista still ruled and Havana was a gambling haven. Juxtaposed cleverly with this timeline is the year 1996, when a group of Cuban musicians reunite to record the titular Grammy-winning album on which this lively, colorful musical is based.

The backstory

In 1996, producer Juan de Marcos (Justin Cunningham) brings together a backup band for the older Cuban singers. The story focuses on four musicians, Omara Portundo (Natalie Venetia Belcon), Ibrahim (Mel Semé), Rubén (Jainardo Batista Sterling) and Eliades (Renesito Avich), all coping with the Fidel Castro regime and how it has affected their lives.

The narrative tells how the eponymous album (released in 1997) was made, bringing the musicians world recognition. The story was made into an acclaimed, Oscar-nominated 1999 documentary of the same name, by German filmmaker Wim Wenders.

When approached about doing the album, Omara is hesitant because she has not sung in years. But she is soon convinced by the album producer to reunite with old friends at the club. She, of course, immediately has no regrets.

From the 1950s to 1996

Part of the story is told in flashbacks to the ‘50s. The young Omara (Isa Antonetti) and sister Haydee (Ashley De La Rosa) are being pursued to sign a recording contract. In addition, Haydee is enthralled with the glamour of the white clubs frequented by tourists in Havana, while Omara prefers performing at the mostly Afro-Cuban Buena Vista. We also meet the younger Compay (Da’Von T. Moody) and Rubén (Leonardo Reyna). Rubén is a master at the piano and gets the whole group jamming with glee.

This is that rare stage musical in which flashbacks actually work and make sense. All songs are performed in Spanish. The best aspect of the show is seeing all the magnificent choreography by Patrick Delgado and Justin Peck, with characters all sporting Dede Ayite’s authentic Cuban costumes.

An entertaining evening

Mr. Delgado and Mr. Peck, with the help of creative consultant David Yazbek, Marco Paguia (music director, orchestrations and arrangements) and music director Dean Sharenow, have assembled an incredibly entertaining evening.

Director Saheem Ali gets marvelous performances from the entire gifted cast, and the story and songs all flow together well. Dav’Von T. Moody as young Compay and Leonardo Reyna as young Rubén make a dynamic duo.

Standouts include Ms. Belcon as Omara and Ms. Antonetti as the young Omara. The two women have powerful voices that soar. For instance, Ms. Belcon’s vocals are both incredibly sultry and raspy in the song “Candela.”

The Atlantic Theater Company originally produced the musical in 2023. Granted, this reviewer never saw that production, but there is no question that this festive celebration of Cuban music and life belongs on Broadway. It is one of the spring 2025 season’s best musical revivals—a nonstop jubilee of culture, history and Cuban music that will keep audiences spellbound from beginning to end. ¡Viva Cuba!

Published April 4, 2025
Reviewed at press performance on March 27, 2025

‘BUENA VISTA SOCIAL CLUB’: Leonardo Reyna (seated at piano) & cast. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB’: Isa Antonetti. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB’: (left to right) Justin Cunningham, Marco Paguia (seated at piano), Renecito Avich, Natalie Venetia Belcon & Román Diaz. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB: (left to right) Natalie Venetia Belcon, Mel Semé (foreground) & Wesley Wray. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB’: The cast. Photo: Matthew Murphy.

The post ‘Buena Vista Social Club’: Cuban musical magic appeared first on StageZine.

‘FAT HAM’: (Left to right, clockwise): Calvin Leon Smith, Nikki Crawford, Billy Eugene Jones, Benja Kay Thomas, Adrianna Mitchell & Marcel Spears. Photo: Joan Marcus.

FAT HAM
Written by James Ijames
Directed by Saheem Ali
Through July 2, 2023
American Airlines Theatre
227 West 42nd Street
(212-719-1300), www.FatHamBroadway.com

By David NouNou

There is a lot to process in James Ijames’ 2022 Pulitzer Prize-winning play, Fat Ham. There is a lot of fat and gristle to go through until you get to the meaningful middle, and that’s Marcel Sparks as the delicious Juicy.

Since there is no curtain, as one walks into the American Airlines Theatre, the setting is a backyard, somewhere in the Black South replete with tables, folding chairs and a barbecue smoker. In the middle of this set is a wreath with Pap’s picture in the middle. At the onset Juicy and his childhood friend Teo (Chris Herbie Holland) are chatting away and setting up decorations for a backyard party. Pap, Juicy’s dad (Billy Eugene Jones), died last week, and Juicy’s mom, Tedra (Nikki Crawford) has just gotten married today to Rev (again Billy Eugene Jones) who happens to be Pap’s brother, and Juicy’s uncle. Hence the preparations for this festive barbecue.

During setting up, Pap’s ghost appears in a white suit and smoke billowing from his shoulders, and he wants Juicy to avenge his murder by the hands of Rev. This sets up the narrative/comparison to Hamlet. Pap taunts Juicy for being “soft” (gay) and doesn’t have the courage to do it. At this point, Juicy breaks the fourth wall and addresses the audience. Both Pap and Rev have been mean to Juicy while growing up and never gave him the respect he deserves. It also gives Juicy his conscience and dilemma—at what point does one break the cycle of meanness and killing and stand up for one’s own principles and convictions as the kind and sweet-natured man Juicy is?

There are more people arriving to this barbecue: Rabby (Benja Kay Thomas), Tedra’s loud church lady friend and her two children, Juicy’s childhood friends: Larry (Calvin Leon Smith) and Opal (Adrianna Mitchell). Besides Juicy being “soft,” every character has a secret that can’t be revealed till a crisis has to eventually emerge.

There are parts that seem contrived and stereotypical, but at the center of it all is Juicy. A wonderful young man who is kind on the inside, has a heart and a mind and cares about everything and everyone, and who is determined on the outside. Marcel Sparks is the embodiment of Juicy. He infuses life into this complex character and gives him dimension to lift him up from his everyday life and surroundings.

Everyone else gives an over-the-the top quality to their performances that is not always honed, fine-tuned or reined in by director Saheem Ali. The performances are outrageous and all over the place. They lack the discipline Mr. Sparks has given to Juicy.  Despite its shortcomings, Fat Ham has many funny moments and has a lot to say about family ties and adjusting to one’s own true self.

Edited by Scott Harrah
Published April 17, 2023
Reviewed at April 16, 2023 press performance.

‘FAT HAM’: Adrianna Mitchell, Chris Herbie Holland & Marcel Spears. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Calvin Leon Smith. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Billy Eugene Jones. Photo: Joan Marcus.

‘FAT HAM’: Adrianna Mitchell & Benja Kay Thomas. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Nikki Crawford. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears & Adrianna Mitchell. Photo: Joan Marcus.

‘FAT HAM’: Marcel Spears. Photo: Joan Marcus.

‘FAT HAM’: (Left to right): Nikki Crawford, Billy Eugene Jones, Benja Kay Thomas, Adrianna Mitchell, Calvin Leon Smith & Marcel Spears in front. Photo: Joan Marcus.

The post ‘Fat Ham’: Family ties & secrets revealed appeared first on StageZine.