BUENA VISTA SOCIAL CLUB Reviews — Page 2

This will probably be the fifth-best new musical nominee along with Death Becomes Her, Maybe Happy Ending, Dead Outlaw and Mincemeat.

ACL2006 said: "This will probably be the fifth-best new musical nominee along with Death Becomes Her, Maybe Happy Ending, Dead Outlaw and Mincemeat."

Definitely the strongest season in a very long time.

That’s a Sophie’s Choice-level question.

I’d strike off DBH from the jump (it’s good fun but not on the same level as the others) and after much struggle, probably go for Mincemeat.

Hot take, I’m starting to think DEATH BECOMES HER gets left out of the best musical conversation, and OLD FRIENDS takes its place. Remember, a good amount of DBH’s praise wasn’t really for the show itself, but for the two leads.

Anyway — well done for team BVSC. Seems like a surprisingly intriguing entry into the jukebox musical canon.

Updated On: 3/20/25 at 10:49 AM

ACL2006 said: "DBH is strictly a good, campy night of theater. Nothing special and there's no moving movement in the show. Hilty and Simard have turned the dial up for the physical comedy they do in this show. It's different, but certainly not going to make waves at the Tony Awards."

But if the show performs a great number it could help it run for a long time. I don't think it should be the same number they have been doing on talk shows.

apologies if i missed it, but what are partial view seats on the extreme sides like? Almost half off to sit on edges of orchestra of front mezz, considering trying it since this show doesnt seem my kinda thing but very curious given the glowing reviews.

PipingHotPiccolo said: "apologies if i missed it, but what are partial view seats on the extreme sides like? Almost half off to sit on edges of orchestra of front mezz, considering trying it since this show doesnt seem my kinda thing but very curious given the glowing reviews."

I sat orchestra right last week in a partial-view seat. Most of the action occurs downstage, but I did miss the scenes that took place on the balcony and couldn't see the wall on the right. The balcony scenes mostly occur at the center and at the right. I miss the entirety of anything happening on the right, and 80% of anything happening at the center of the balcony. Fortunately, most of the show is not set on the balcony, and the major scenes occur below, and I think the view was pretty decent for those scenes.

the 60% of the show that is music---while not "for me" its simply remarkable musicians and vocalists at the top of their game. i dont speak spanish well enough to understand the lyrics, so the songs did sorta blend together by the middle of act 2. but theres no denying the talent on the stage.

and the 40% that are book scenes- yeah the writing is rough, and the story cliched to the point of comical, BUT i found myself tearing up at the end, so theyre doing something right?

The piece comes alive when Natalie Venetia Belcon is on the stage, but I was surprised by what a supporting role it is. I hope they put her in Featured for awards purposes, because shes on the cover of the playbill and is the face of the ad campaign, and she gets her own final bow, but the role is really not a lead and I think she has a much stronger shot in Featured. Regardless, shes regal and funny and sounds incredible.

Updated On: 3/22/25 at 06:42 PM

An Essential ‘Buena Vista’ Song Finds Its Emotional Place on Broadway



https://www.nytimes.com/2025/03/27/theater/buena-vista-social-club-chan-chan-broadway.html?unlocked_article_code=1.7U4.fzV9.0X3zBD7QgFAX&smid=nytcore-android-share

Sketchy book aside, I thought this was an absolute blast.

I clocked a mostly-full orchestra and tonight’s audience was highly receptive. Warm entrance applause for Natalie Venetia Belcon (who was very good), acutely tuned into Renesito Avich shredding the tres during “El Cuarto de Tula”, nice response to Juan de Marcos’s assumption to the older Omara that “Mozart has got nothing on us.”

Isa Antonetti is a STAR and I loved her rapport with Ashley De La Rosa (thrilled to finally see her in a show) and Wesley Wray.

Each of the musicians gets a chance to shine here. We love to see it.

“Chan Chan” was the closest we got to ILLINOISE territory, and just as the story turned more sentimental. (A very good place to be, it turns out.) Justin Peck’s done it again.

Tonight was a bit shorter than advertised, 7:05 start and 9:08 blackout before the little curtain call encore.

Stage door: Antonetti, Wray, and De La Rosa. I also saw Belcon and Justin Cunningham come out but they didn’t sign. Nice and quick, and over by 9:28.

I also ran into Emma Sofia inside the theatre tonight. Absolute sweetheart, can’t wait to see her in CATS.

Will this survive past August? I guess we will see, but it’s made a nifty case for a best musical nomination.

Updated On: 4/1/25 at 09:53 PM

So I am considering seeing this. Dithering between this and Mincemeat.

But a few reservations: to me, a strong book is super important. Will I roll my eyes at this book?

I do enjoy a lot of dancing in musicals, and I love the Cuban cabaret style of music.

DAME said: "Apples and Oranges . Both stellar in their own way. You seem to live or have lots of access to the city . Id see both if you can."

I do, but it's been a great Broadway season and I've already spent soooo much money.