I think this is the prime example of a work about the experience of music, its meaning for people who see themselves as artists, and in some way the music is the protagonist of the play since the start.
Marco Ramirez's text tries to create an interesting story about the feeling of imminent change in pre-revolutionary Cuba, but it doesn't delve too deeply into the political spectrum that exists there, so the less we talk about the book, the better.
The four characters highlighted have interesting nuances, and yet the archetypes are difficult to break, even with some very dedicated performers. As it's the case of Omara, but the presence of Natalie Venetia Belcon is so powerful, she creates such a mystical aura that it is difficult not to get involved.
When it turns to the fantastic band on stage, giving in to the full latin vibe of the music and allowing the actors' bodies to engage in a choreography that combines classical and Latin rhythms with precision, the work comes to life so much that you see its full potential materialize before you. And then, it captivates you.
