The creative team for the musical “Buena Vista Social Club” have been hard at work making a few changes in preparation for its Broadway debut after a successful run at the Atlantic Theater. The most notable alteration is the transition from a small off-Broadway stage to the considerably larger stage of the Gerald Schoenfeld Theatre. Although, at no fault of their own, there is a certain intimacy that is lost, the expansive stage gives the energetic choreography of Patricia Delgado and Justin Peck enough room to breathe and showcase a remarkable ensemble of dancers. The detailed scenic design by Arnulfo Maldonado stays intact but with more detail to the architectural elements and colors, that help transfer you to Havana, Cuba. The new book penned by Marco Ramirez has been shortened considerably, which has its pros and cons. This new production is more focused on the music and relationships of the characters, but much of the history and severity of the revolution that takes place is lost. Regardless of any changes, the soul of the show, which is the music by Buena Vista Social Club, is still intact. Ballads are powerful and emotional, and the upbeat musical numbers exude a Latin flavor that is infectious.

The production flips back and forth between 1956 and 1996 and takes place in Havana, Cuba. Record producer Juan de Marcos (a convincing Justin Cunningham), has assembled a remarkable group of old time Cuban musicians, in hopes of convincing famous singer Omara (a remarkable Natalie Venetia Belcon) to record an album of classic Cuban songs. Flashback to 1956 when young Omara (the wise Isa Antonetti) is singing with her sister Haydee (a controlling Ashley De La Rosa), rehearsing for their show at the Tropicana. The replacement musicians for their rehearsal are young Compay (a brilliant Da’Von T. Moody), and young Ruben (a sharp Leonardo Reyna) who convince Omara to come to the social club that night. There she is introduced to the real culture of her homeland and the mesmerizing music sung by the locals. She returns to the club after the Tropicana performance, leaving her sister to deal with the record producers that came to see them. When she returns home, her sister is furious, tells her she signed the contract, and that they must leave on the last plane out of Cuba for the states. The streets are filled with revolutionists and protests. Omara stays in Cuba, her sister leaves, and they become estranged, never speaking with each other again. When her sister dies, Omara stops singing.

It is a hard sell to get her back into the studio but when she finally gives in and hears the magnificent band, she cannot resist. Some of the songs being recorded are like ghosts that haunt Omara. She walks out halfway through the album and there is only one more person that may convince her to stay. That is the love she met at the social club, young Ibrahim (a humble Wesley Wray) who sang with her. After this long separation she finds him (a gentle Mel Seme), now married with six children, and convinces him to come record the album with her. All that needs to be said is that the recordings are magnificent and that all ends well.

Even with this dramatic storyline, it seems incidental, because the real story is the music. The orchestrations by music director Marco Paguia are infused with a Cuban flair, that resonates through your body insisting you move with the rhythm, and the arrangements of ballads drown your heart with waves of emotion. Costume design by Dede Ayite, capture both periods effectively and float in the air as they complement the extraordinary choreography.  Director Saheem Ali delivers a polished production that captures the essence of “Buena Vista Social Club,” shedding a bright light on the music of a different time and exuberant culture.