Buena Vista Social Club Lights Broadway With Afro-Cuban Beats
With a mix of classic tunes and energetic Afro-Cuban beats, “Buena Vista Social Club” arrives on Broadway. The show presents Omara Portuondo’s notable account. This account becomes part of a blend of movement, theater, and heritage for absorbed viewers across the globe today.
From Off-Broadway to the Big Stage
The well-known sounds of Afro-Cuban music are now on Broadway with the premiere of “Buena Vista Social Club.” This musical production honors the legacy of the famous group; they became popular worldwide in the late 1990s. At its heart is an homage to Omara Portuondo—often referred to as the “Billie Holiday of Cuba”—whose complex life and indomitable spirit form the show’s emotional core. Trinidadian actress Natalie Belcon steps into Portuondo’s shoes, determined, as she told EFE, to “do justice” to the iconic performer’s story.
While the production overflows with the infectious energy of classic Cuban rhythms, it also delves into Portuondo’s personal history. Her journey from a young singer in Havana’s Tropicana nightclub to a world-famous star is marked by both political upheaval and her unwavering faith in Cuba’s musical future. The show’s creators weave together the beloved hits of the Buena Vista Social Club album—produced by Ry Cooder in 1999 and made world-famous by Wim Wenders’s documentary—with a narrative that avoids deep political entanglements, preferring instead to spotlight the camaraderie, passion, and artistic resilience of these revered musicians.
Below, we take a closer look at how this Afro-Cuban musical has made it to the epicenter of American theater, what audiences can expect, and why Natalie Belcon sees herself as a caretaker of Portuondo’s profound legacy.
“Buena Vista Social Club” did not appear on Broadway overnight. The musical began in Off-Broadway venues. It gained a positive response despite a smaller amount of funding. Good write-ups and positive comments next to the lasting fame of the first music advanced the play toward larger goals.
The prior showings were liked by viewers; they could see a return to how Havana felt in the mid-1900s. Nightspots were usual during that era. Celebrated individuals spent their time with the people who lived there, and a new government appeared possible. The set’s layout displayed Cuba’s warmth and energy before the Revolution took place. People there felt involved within a setting; this implied love and opportunity. Dancers, clad in bright tropical costumes, channeled the spirit of the Tropicana and the real-life Buena Vista Social Club, the fabled members-only dance hall that inspired so much of the music’s distinctive sound.
On Broadway, the show grows that charm. The scenes are more complex. The dance is sleeker next to the band playing well. They change from soft songs to fast drums with ease. The bigger size makes the large band’s songs better. It gives power to the play’s small scenes. The deeper parts of the players’ fights and wins are clear.
Telling Omara’s Story
Omara Portuondo is central to the musical. Isa Antonetti plays the part of a younger Portuondo. Natalie Belcon takes on the role in her later life. Portuondo was born in Cuba in 1930. She became an adult as the country went through a big cultural change. Her unique, low singing voice and attractive manner led to her rise. People contrasted her to important jazz vocalists. Her existence included difficulty. The exhibit emphasizes her connections. Her fondness for vocalist Ibrahim Ferrer is quite significant. It also shows the emotional impact of substantial political changes. This all occurred during the Cuban Revolution.
Known for praise of her Broadway acting, she was open with EFE about what she aimed to accomplish: “I’m busy trying to make sure I do Omara justice: a bit of historical justice, a bit of musical justice,” she stated. “I want to get it right from the first note the band plays; I’m fully transported.”
Immersing herself in Portuondo’s life, Belcon watched documentaries, listened to countless hours of her music, and worked closely with several musicians in the production who had firsthand experience performing alongside the Cuban diva. Even with some initial worry, she found links among her own past. It included Trinidadian calypso music. She noted the rhythm of Cuban boleros and son. That shared Caribbean connection helped her engage with Portuondo’s skills. The role felt natural.
Belcon’s performance shows the emotional subtleties of a woman. She balanced a dedication to music with the facts of changing times. Political shifts also played a role. The actress states that the show carries significant emotional weight. It addresses both trauma and sacrifice. Many fans may not have understood that these elements supported Portuondo’s glamorous public image.
AfroCuban Heritage on Broadway
“Buena Vista Social Club” stands out among typical Broadway shows because of its Afro-Cuban origin. This origin is a central aspect of the production. This arrival is important for theater in America. A large-scale musical based on Afro-Cuban musical beats, dance next to traditions, has debuted. While previous Broadway hits have referenced Latin culture or featured Cuban characters, few have placed Afro-Cuban identity squarely in the spotlight with such depth and reverence.
The show’s genuineness includes the music, too. The well-known tunes from the Buena Vista Social Club record, such as “Chan Chan,” “Candela,” and “Dos Gardenias,” are sung in Spanish. Doing so keeps the initial feeling. Most of the talking between songs is in English. This recognizes the Broadway crowd’s makeup yet also helps them join different groups. The creative staff handles this carefully. People who speak Spanish will still notice the lyrics’ normal kindness. Those who speak English will grasp the story.
Belcon’s Caribbean roots come through not just in her accent but in her understanding of the communal spirit embedded in this music. She told EFE that she hopes audiences will feel compelled to get up and dance—something she has witnessed during previews: “I know it because I see it: by the end, people are excited, happy, elated, and emotional. Some ask for time to dance, just like they would at a live concert.”
The show intentionally avoids explicit commentary on the Cuban political system, never once mentioning communism by name. Instead, it focuses on the personal choices each artist made during and after the Revolution—some stayed in Havana, others departed, and many reunited decades later to create musical magic that would captivate the world. The absence of overt politics has allowed the cast and creative team to highlight what unites them: a love of music, a celebration of cultural roots, and the sheer joy of performance.
The Future of Afro-Cuban on Broadway
“Buena Vista Social Club’s” Broadway debut does more than just bring back the old days of Cuban music. It also shows how Afro-Cuban rhythms never lose their charm. People watching today are reminded of how important working together is. Also of value is sharing across cultures. And the ability to keep creating even when things are hard. For Belcon, this production is what she has always wished to do. It brings together what is part of who she is with her focus on telling stories that truly change things.
She told EFE, speaking of the difficult rehearsal plan, “It’s the best kind of tired.” The lights of Times Square do not deter her. She focuses on her nightly promise to show the grace and depth of Portuondo. She wants to get at the weak spots that made Omara Portuondo who she was, that is to say, her love story, her sadness as well as her endless hope for the music of Cuba, not just her amazing voice.
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The show ends. People leave the theater. Some sing the old songs, others cry next to some walk with more energy than they had before. The goal of “Buena Vista Social Club” is reached at those times. It seeks to celebrate the AfroCuban past. It goes past areas and ages. It makes all who hear it want to dance.
