Where would Miami be without the Adrienne Arsht Center? Since the day it opened, nobody has done us better. The Arsht is Miami’s cultural anchor — a place that consistently brings world‑class talent and somehow keeps raising the bar. The latest example, running Tuesday, September 29 through Sunday, October 4, 2026, at the Ziff Ballet Opera House, is something deeply personal and special.
When it comes to the Buena Vista Social Club, I’ve been hopeless since the beginning. The stage production tells the story of forgotten musicians who shared their sound with the world, a fictional romance between two of its real stars, and a four‑decade Cuban time‑travel reminiscence. But towering above the plot are extraordinary musical performances, riveting choreography, and dazzling costumes. It’s the kind of show that reminds you how music can underpin memory, history, and longing all at once.
When the original Wim Wenders film came out, I saw it immediately — and then again and again. I wore out the CD, urged friends to see the movie, and carried the Buena Vista Social Club in my subconscious afterward, one of those cultural touchstones that never drifted far from my mind.
So when it made its rebirth on Broadway, I rinsed and repeated: watched the film again, listened to my old album, listened to Ibrahim Ferrer’s album, and bought two tickets outside my price range so I could savor the live performance in New York City. I went, I saw, it conquered. I cried, thinking about how little time I was able to spend as a boy in the Bronx with Aunt Di and Uncle Marco. Sitting in that audience as a Miamian, I couldn’t help imagining how powerful the play would be when — one day — it visited us at the Arsht Center. I’m happy to say that day has almost arrived.
The play is heartwarming and lovely. The music is even better. And it has been written, unmistakably, for us. Miami audiences don’t just watch a story like this — we feel it in our bones. The show aligns perfectly with our own layered history of exile, memory, and celebration. It’s joyous and sad.
There’s no place like Miami for those of us who love it. We love it truly, madly, deeply, and furiously. Outside of Cuba, Miami is Cuba. For the past 75 years, Miami has been the island’s northernmost suburb; we all know this. So I won’t belabor the point: the Buena Vista Social Club tells a romantic musical story that everyone here understands intimately. It’s not just entertainment — it’s cultural recognition.
I promise you this: you will need Kleenex. Since its Broadway opening, the rave reviews have not stopped. The music is top‑notch. The dancing is top‑notch. The set is top‑notch. Don’t miss it. And here’s a pro tip for those who know the story — NPR’s Tiny Desk Concerts features a wonderful 20‑minute Buena Vista Social Club performance. Watch it.
Already, this show is a difficult ticket, despite multiple performances over several days. It won’t be enough. Buena Vista Social Club is the kind of event that could play here year‑round — the way Celia Cruz filled rooms in Miami long after she stopped touring, or how Los Van Van could sell out the Knight Center on a weeknight. I’m not kidding. That’s how close this hits to home. Miami doesn’t just welcome this production — it claims it.
It has never been my nature to rave about things. For the Buena Vista Social Club, I must make an exception.
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