Despite not understanding the Spanish lyrics, the songs in Buena Vista Social Club prevail in creating a cohesive and profound story. Rather than being used as literal signboards for the plot, the songs are performed atmospherically by characters who would actually sing them. The exquisite harmonies, delirious polyrhythms, and raw brass add depth and coherence to the story. The exceptional music production, led by Dean Sharenow and Marco Paguia, enhances this effect with arrangements that suit the new contexts and the intimate space of the Atlantic’s Linda Gross Theater. The sound design by Jonathan Deans provides a live-sounding experience.
While the balletic duets for the young sisters felt labored, the fizzy club dances are a delight. Choreographed by Patricia Delgado and Justin Peck, these dances match and elevate the music with intricate close partnering and innovative movements.
Director Ali’s staging, set by Arnulfo Maldonado, effectively captures the feeling of cramped spaces in which the story takes place. However, it sometimes becomes difficult to determine the location and era due to the small and flatly lighted stage, along with the large cast and musicians. The costumes by Dede Ayite offer delightful clues to the era and setting.
Some parts of the show feel rushed and packed, leaving little room for thoughtfulness. The ending is abrupt, as if interrupted by a proctor’s stopwatch.
However, when the staging, singing, and playing come together, the show evokes the spirit of another musical about music, “The Band’s Visit,” which also originated at the Atlantic. In moments like the hypnotic “Chan Chan,” the catchy “El Cuarto de Tula,” the heartbroken “Veinte Años,” and the beautiful “Drume Negrita,” the past harmonizes with the present. As Compay says, “Old songs kick up old feelings,” even with the addition of a scorching flute in the showstopping “Candela.”
Buena Vista Social Club
Through Jan. 21 at the Atlantic Theater, Manhattan; atlantictheater.org. Running time: 2 hours.