History of Social Club Buena Vista comes to Broadway: “The power of music goes beyond language” | Entertainment in the United States

Music, strength and tropical rhythms Buena Vista Social Club They go up to the tables in New York. Inspired by Real Events, the new Broadway Musical gives life a band as well as the famous and multiple homonym album. It evaluates the history of the legends that lived and recorded this musical jewel in 1996 in just seven days, making it a global phenomenon: in 1998 he granted Grammy and more than eight million copies sold, exceeding any other album of its kind, loaded with Cuban’s son, Jazz and Creole.

The function began on 21 February and the official premiere will take place on March 19 at the Gerald Schoenfeld Theater. On the stage there will be Afro -Cuban Band of Buena Vista Social Club, who has world class of musicians, including Marco Pagia, who, in addition to being his music director, sits on a piano. They are accompanied by David Oquendo on guitar, Gustavo Schartz in bass, Hery Paz with wind instruments, Eddie Venegas in El Trombón, Jesús Ricardo in Trumpet and percussionists Javier Díaz and Romain Herrera and novel. As for the cast, Natalie Venetia Belcon and Isa Antonetti stand out (playing the famous and nongens pianists Ruben González), Renesito Avich (Eliades Ochoa), Ashley de la Rosa (young Haydee), Justin Cunningham (Juan de Marcos).

The libretto is in charge of Marco Ramirez, winner of the Award Award Award Award for Work RoyaleBased on the life of Boxer Jack Johnson, the first black light champion. The musical is directed by the Sahe Alim, nominated for TonyThick ham, adaptationSettlement, And choreographies are from Patricia Delgado and Justin Peck, winner of the Tony Award Award (Illinoise,West Side Story).

Ask. Marco, the script is based on real events. How was it transforming the history of these legends into a script for Broadway’s show?

Response. It was a lot of work, although these music legends made it easier for my work and talents that it exceeds the real many times. Somehow, singers like Ibrahim Ferrer or Omar Portondo have always been destined to Broadway, only they were a little late.

P. What was the biggest challenge in the process of creating this script?

R. The music of the Buena Vista catalog is beautiful, so the biggest challenge I faced, was to choose which songs to include. I think we have achieved good balance between great achievements and other lesser -known masterpieces.

P. What was your reaction to see that it came to life through actors and singers?

R. There are some members of the original band that I never had the opportunity to meet. Among them Ibrahim Ferrer, Ruben González and Compay Segundo. But from time to time, someone was involved in the process of creating the original album that would approach me and say, “It’s amazing. For a moment, the company seemed to be with us in the room. It would love it.”

P. Sahe, what is the biggest challenge in directing the musical Broadway with a group of visionary artists and a group of renowned musicians around the world?

R. It was a musical that was authentic and creatively bilingual. The story should be told in English to connect with most Broadway viewers, but without giving up the beauty of songs in their original Spanish. We wanted to achieve this without resorting to translations or headlines that, in my opinion, would rather be enriched to deduct depth from experience. This production shows that the power of music exceeds the language and that songs themselves are able to contribute to emotional textures and basic narrations of nuances at the Music Theater.

P. What moment of the show do you think the public will give chicken skin? Without revealing too much …

R. The show acts as an ode for the power of music to awaken memory. It is based on the true history of the second chance for the generation of Cuban musicians who have achieved their beauty on the eve of the revolution, just to see how the spaces like Buena Vista Club closed themselves shortly afterwards. Ten years later, in the middle of a difficult special period, they achieved international glory. I hope that the last moment of the musical, which shows the rise of these musicians to recognize, will be shaken by the public.

P. Julio, what is it like to play Compay Segundo?

R. When I knew I was going to interpret it, I couldn’t believe it. My first reaction was from Vertigo because Don Máximo report Muñoz – which was called, was described as the character of many carats. He had a huge personality and charisma and his contribution was unique not only in Cuban music, but in world music. And it can be very intimidating. But at the beginning, I realized that the best approach to interpretation is not to imitate it, because he did not want to turn it into a cartoon, but to capture its properties, its energy and spark. Society was also very wise and had a unique sense of humor. Very modest origin, but with great determination to life. He was Tabaquero, a barber, a painter and even a cultivator of the country. He crossed his artistic disappointment and his personal challenges with a smile and without a pessimism or sadness to define it. And these are the qualities I try to give when I get to the stage.

P. Natalie, how much did you know about Buena Social Club before joining as Omar Portisto?

R. I actually knew the album. I grew up surrounded by music in my house. My parents are musicians: my mother is a classic pianist and my father was a trumpeter jazz. I met the album thanks to them. I immediately fell in love!

P. How is your character Portondo?

R. This is a woman who deals with deep pain and stunning mistakes, the remains of the past that held up in the depths of her being. An unexpected visit to young Juan de Marcos forces her to start a trip to spiritual and emotional freedom.

P. Natalie, Julio, why is it important to tell this story?

Natalie’s answer. Because it will help keep this music and your musicians alive, except for introducing it to those who don’t know a good view of the social club. Broadway’s audience will fall in love with a style that is completely different from what they are used to.

July answer. There are many problems in work that makes it relevant, but for me it is a great example for a young artist and reminds them that the art that cannot be omitted is the process. The company said young people do not want to do anyone, everyone wants to be stars overnight. And I continued, “How many years have I expected? How many roads did I have to go? How many Serenades and Guateques had to sing?” This respect for his profession, love and determination for his art reminds us that being an artist is throughout his life. That things must be done well and that you have to be prepared and ready for it when opportunities are presented, even if they reach ninety years. It is, as he said, “The flowers of life come to you sooner or later. And when they arrive, use them. Do not despise them.”