There’s a point during On Your Feet: The Emilio & Gloria Estefan Broadway Musical, which we saw last night at the Hollywood Pantages (FB), where Emilio Estefan turns to a white record company executive, who has just dissed him for attempting to crossover with English lyrics saying that he’ll only appeal to a Latin market, and says (pointing to himself): “This is the face of America”.
If there is a significant moment in this show, that’s really it. Much as we’re seeing the last gasp of White European culture trying to retain its grip on power via the Trump administration, the future of America — and what America has always been — is the melting pot of immigrant culture. From Eastern European Jews to Africans, from Latins to Asians, from Indians — both Native and East Asian. We all bring aspects of our culture that cross over, are celebrated, and that get you — to put it bluntly — on your feet.
On Your Feet, with book by Alexander Dinelaris and featuring music produced and recorded by Emilio & Gloria Estefan and the Miami Sound Machine, is not a deep musical. You won’t find a deep fictional tale rich in symbolism; you won’t find a movie story on the stage; you won’t even find a force-fit of a lightweight story on the framework of a jukebox musical. On Your Feet is clearly a bio-pic on stage: it is the story of a Latin music crossover band, and how the audience reacts is the demonstration that the message about the face of America is right: it is the immigrant’s face — working harder and with more determination, determined to find the way to succeed when the culture in power keeps telling them “no.” It is a message that demands to be heard in this day and age. It is a message that resonates particularly well in Los Angeles (say that with the Spanish accent, thankyouverymuch), given our history and culture.
As an audience member, you come out of On Your Feet thoroughly entertained. The rhythm moves you, the dance (choreography by Sergio Trujillo (FB)) moves you, the presentation and story (direction by Jerry Mitchell (FB)) moves you. You just leave happy. Is there really more you need right now, given what we’re seeing on the news?
The performances in this show are top-notch. In the lead positions are Christie Prades (FB) and Mauricio Martinez (FB) as Gloria and Emilio Estefan. The two sing strongly, dance strongly, and have a great chemistry together. Not being an expert on Estefan’s music, I can’t speak to how well they sound like the originals. But they sounded pretty good to me.
Supporting them, as Gloria’s family, were Nancy Ticotin (FB) as her mother, Gloria Fajardo; Debra Cardona (FB) as her abuela, Consuelo; Jason Martinez as her father, Jose Farjardo; and Claudia Yanez (FB) as her sister, Rebecca [also, Ensemble, Gloriau/s]. All gave strong performances, had chances to give outstanding vocal performances, and moved well. Ticotin had a particularly strong voice, as did Martinez.
Giving standout performances as the child versions of the leaders were Carmen Sanchez as Little Gloria and Jordan Vergara (FB) as Young Emilio and Nayib. Super strong voices, super strong movement — they were just astounding. Ana-Sofia Rodriguez and Carlos Carreras cover these roles at selected performances.
Rounding out the cast in smaller roles as noted, as well as providing the strong dance team, were the ensemble: Anthony Alfaro (FB) [Swing]; Michelle Alves (FB); Jonathan Arana; Danny Burgos (FB) [Emiliou/s]; Sarita Colon (FB); Shadia Fairuz [Gloria Fajardou/s, Consuelou/s]; Adriel Flete (FB); Devon Goffman (FB) [Phil]; Claudia Mulet (FB) [Gloria Fajardou/s, Consuelou/s]; Eddie Noel (FB) [Emiliou/s]; Marina Pires (FB) [Swing, Gloriau/s]; Jeremey Adam Rey (FB); Gabriel Reyes (FB); Joseph Rivera (FB); Maria Rodriguez; and Shani Talmor (FB). Explicit Swings were: Skizzo Arnedillo (FB) [Dance Captain]; and Ilda Mason (FB) [Asst. Dance Captain].
Music was provided by an on-stage orchestra, which included a number of members of the Miami Sound Machine (indicated with *). The orchestra consisted of: Clay Ostwald* (FB) [Music Director, Keyboard1]; Emmanuel Schvartzman (FB) [Assoc. Music Director, Keyboard2]; Jose Ruiz (FB) [Trumpet]; Teddy Mulet* (FB) [Trombone]; Mike Scaglione* (FB) [Reeds]; Stephen Flakus (FB) [Guitar]; Jorge Casas* (FB) [Bass]; Edwin Bonilla* (FB) [Percussion1]; Jean-Christophe Leroy (FB) [Percussion2]; Colin Taylor (FB) [Drums]; Serafin C. Aguilar (FB) [Sub Trumpetlocal]; Denis Jiron (FB) [Sub Trombonelocal]; Sean Franz (FB) [Sub Reedlocal]; Patrick Vaccariello (FB) [Music Coordinator]; Eric Heinly (FB) [Local Contractor]. Other music-related credits: Jorge Casas* (FB) [Music Director of Miami Sound Machine]; Clay Ostwald* (FB) [Asst. Music Director of Miami Sound Machine]; Randy Cohen (FB) [Keyboard Programming]; Jeremy King and Taylor Williams [Assoc Keyboard Programmers]. Clay Ostwald* (FB) and Jorge Casas* (FB) provided additional orchestrations. Lon Hoyt (FB) did the arrangements.
Lastly, turning to the production and creative credits. David Rockwell‘s set design was simple, using a number of floating panels and various props. It also heavily used the video and projection design of Darrel Maloney. It also worked well with Kenneth Posner‘s lighting design, which used a large number of moving lights around the frame of the stage to create a concert feel for the show. SCK Sound Design [Steve Canyon Kennedy] was reasonably clear for the Pantages. Costumes were by Emilio Sosa (FB), with hair and wig design by Charles G. LaPointe (FB). Oscar Hernandez did the dance arrangements and orchestrations. Other production credits: Andy Señor Jr. (FB) [Assoc Director]; Maria Torres [Assoc Choreographer]; Natalie Caruncho (FB) [Assoc. Choreographer]; Kathy Fabian/Propstar [Prop Supervisor]; Eric Insko [Production Stage Manager]; Anthony Cefala (FB) [Stage Manager]; Saori Yokoo (FB) [Asst Stage Manager]; Telsey + Company (FB) [Casting]; Karen Berry [General Manager]; Susan C. Guszynski [Company Manager], Troika Entertainment [Tour Manager].
On Your Feet continues at the Hollywood Pantages (FB) through July 29. Tickets are available through the Pantages website; discount tickets may be available on Goldstar. This isn’t a deep show, but you’ll have a great time.
Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB) [the company formerly known as Cabrillo Music Theatre (FB)], the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) ז״ל, a mini-subscription at the Soraya [nee the Valley Performing Arts Center (VPAC)] (FB), and the Ahmanson Theatre (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.
Next weekend, as Jane Eyre The Musical from Chromolume Theatre (FB) looks to be a dead parrot ⚰🐦., we’ve replaced it with Tabletop, a reading of a new musical about tabletop RPGs at the Charles Stewart Howard Playhouse (FB). The third weekend in July brings a Bat Mitzvah in Victorville, and Beauty and The Beast at 5 Star Theatricals (FB) that evening on Saturday, and a hold for the OperaWorks (FB) “Opera ReConstructed” at CSUN on Sunday. The last weekend is currently open; it turns out the Muse/ique (FB) show is not that interesting. August starts with Waitress at the Hollywood Pantages (FB) on Saturday, and the Actors Co-Op Too! production of Always Andrews: A Musical Tribute to the Andrews Sisters on Sunday at Actors Co-op (FB). The next weekend brings the last Actors Co-Op Too! production, Twelfth Night, or What You Will at Actors Co-op (FB). There may also be a production of The Most Happy Fella at MTW — I’m not sure about it, but the hold date is on the calendar.
As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.