Play Esq. said: "I’m more than a little shocked to see that this is the best reviewed show of the Broadway season, at least with that book intact!
Regardless, the musical is a feast for the soul and eardrums, I cannot wait to return. Congratulations to an incredibly talented cast and crew!"
It's reviews are on par with Death Becomes Her.
This will probably be the fifth-best new musical nominee along with Death Becomes Her, Maybe Happy Ending, Dead Outlaw and Mincemeat.
Broadway Star Joined: 3/29/23
MemorableUserName said: "NYT Critic's Pick from Vincentelli
‘Buena Vista Social Club’ Brings the Thrill of Music Making to Broadway
A new musical inspired by the 1997 hit album gives a fictional back story to the veteran performers of the Havana music scene
https://www.nytimes.com/2025/03/19/theater/buena-vista-social-club-review-broadway.html"
https://www.nytimes.com/2025/03/19/theater/buena-vista-social-club-review-broadway.html?unlocked_article_code=1.5U4.6qNl.7T-c5hcrfKHm&smid=nytcore-android-share
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.
Understudy Joined: 9/25/24
inception said: "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."
If you had to choose between the shows you mentioned above and BVSC, which one would you see the day after the Tony Awards?
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.
I'd pencil in Mincemeat as the frontrunner currently. But if Dead Outlaw gets strong reviews, it might jump ahead. Definitely the strongest season in about ten years when we had Come From Away, Great Comet and Dear Evan Hansen battling it out.
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.
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.
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.
Broadway Star Joined: 10/14/21
So happy to read all these glowing reviews. The show's book is indeed a problem, but everything else on that stage is just magical and special. I saw this in early previews really just to check it off my list for the season and not expecting to not care about it at all, but it's become one of my absolute favorites.
Broadway Legend Joined: 6/13/22
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.
Broadway Legend Joined: 3/27/19
Washington Post
Two must-see Broadway musicals that find joy in wartime
The outlandish comedy “Operation Mincemeat” and sonic sensation “Buena Vista Social Club” double down on delight in the midst of adversity.
https://www.washingtonpost.com/entertainment/theater/2025/03/20/operation-mincemeat-buena-vista-social-club/
"Developed and directed by Saleem Ali, the show would be well worth it as a musical revue alone (sound design is by Jonathan Deans). In addition to a feast of Afro-Cuban numbers — including full-band showstoppers, aching boleros and laments for racial justice — the production is a visual sunburst. Choreography, by Patricia Delgado and Justin Peck, creates mesmerizing swirls of elongated limbs and ruffled midi skirts (by costume designer Dede Ayite). Lighting, by Tyler Micoleau, gathers in pools of inviting amber and orange."
Leading Actor Joined: 11/15/07
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.
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.
And all the music is played on the ground platform. You didn’t miss much not seeing the balcony scenes. I’d compare your view to a family circle seat at the Met for a mediocre production: great value to hear exceptional music, and you miss the crap.
Broadway Legend Joined: 6/13/22
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.
Broadway Star Joined: 3/29/23
Buena Vista Social Club,’ writer Marco Ramirez ushers Broadway into the golden age of Cuban music
https://www.latimes.com/entertainment-arts/story/2025-03-23/buena-vista-social-club-broadway-musical-writer-marco-ramirez
Broadway Star Joined: 3/29/23
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
Cast album being recorded today. So excited to see this in a few hours.
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.
I saw this last night and found it to be one of the most lopsided shows I’ve ever seen.
The musical performances are excellent. The musicians, the vocals, and the dancing are all electric. I loved hearing this genre of music on a Broadway stage.
But, the book, both in structure and dialogue, is…not good. Despite there being a really interesting story there, I don’t feel like I ever actually got to know (or care about beyond a surface level) any of the characters.
I also found some of the acting performances to be (to put it bluntly) very bad. It was hard to take some of the characters and scenes seriously.
Ultimately, the amount I disliked about the show outweighs the stellar musical performances for me.
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.
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.
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.
You know you’re going to end up seeing both. Right?
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