Broadway is alive with energy as “Buena Vista Social Club” takes center stage, revealing the infectious spirit of music right from its opening scene. As soon as the lights dim, audiences are captivated by a vibrant group of onstage musicians performing “El Carretero.” The excitement is palpable, with audience members swaying in their seats and some rushing to the aisles to dance. This production unearths the profound communal power of music, illustrating how it connects people from all walks of life.

This show has achieved a remarkable feat on Broadway, a stage where the thrill of music-making is often overlooked. While there have been previous productions that showcased music creation—like David Adjmi's “Stereophonic,” which is set in recording studios—none capture the deep interconnections between musicians, songs, and society quite like “Buena Vista Social Club,” which celebrated its grand opening at the Gerald Schoenfeld Theater.

This iteration is inspired by the 1997 Grammy Award-winning album “Buena Vista Social Club,” featuring iconic Cuban musicians who revived traditional Cuban genres like son, danzón, and bolero. The show, directed by Saheem Ali, seamlessly integrates many beloved numbers from the album, with each song introduced in a booklet illustrated by flutist Hery Paz, creating a rich cultural tapestry.

The character dynamics often highlight the real-life experiences of the Cuban musicians. The narrative focuses on Omara, who expresses her excitement about performing for an enthusiastic local crowd, exclaiming, “There are no tourists; they’re playing for us!” The character Ibrahim, portrayed by Wesley Wray, adds a layer of romantic intrigue to the plot.

Interestingly, the actual Omara Portuondo—whose career began in the 1950s—was already a seasoned performer by the time the show is set, presenting an engaging narrative twist. The creators chose to mesh her story with emerging talent to weave emotional depth and stakes within the storyline, although some dialogue between characters felt clunky.

The production shines in its 1996 scenes, where the energy is undeniable, driven by the undeniable chemistry of the cast. In particular, the actress playing Omara delivers sharp, witty remarks that showcase her character’s nuanced persona.

Throughout the performance, “Buena Vista Social Club” challenges perceptions of musical excellence, highlighting that remarkable artistry comes from various traditions, not just the classical European canon. A moment that resonates is when a young musician reflects on how revered composers are often hailed as the epitome of greatness, despite the rich musical landscape within Cuba itself. The show concludes with a powerful performance at Carnegie Hall, asserting that Cuban music deserves its rightful place among the world's musical elites.

This rendition captures the essence of artistry through sheer musicality rather than heavy exposition. A notable moment occurs when a seasoned musician praises Eliades Ochoa for playing the tres, likening him to a Cuban Jimi Hendrix—an introduction followed by a performance that truly shreds expectations.

As the show progresses, we hear an undeniable sense of pride as Omara, who initially scoffs at the idea of a flute solo, can't help but smile when Paz impressively showcases his talent, further bridging the gap between skepticism and wonder.

In the heart of Manhattan, “Buena Vista Social Club” celebrates not only good music but the exhilaration of creating it. The production runs for two hours at the Gerald Schoenfeld Theater, leaving audiences with a profound appreciation for the richness of Cuban culture and the bonds it fosters. For those seeking a musical experience that electrifies the soul, look no further than this vibrant tribute to the power of music.

**Don’t miss your chance to witness the magic of “Buena Vista Social Club” – a musical experience unlike any other!**