Breakout Performance in “Celia,” the Musical

Photo by Augusto Salinas
Xiomara Laugart Sánchez (above) says : “I don’t sing like Celia.”
Don’t you believe it.
From the moment she opened her mouth in the uneven preview that I saw of Celia: The Life and Music of Celia Cruz at New World Stages, more than two weeks before last night’s official opening, I was blown away by her channeling of the Queen of Salsa’s hard-driving vocals in her signature songs.
Both the script and the acting were often stilted, but some of that may have been due to the fact that I attended the English-language version, probably not as freespirited as the Spanish performances, which predominate on the schedule. (All of the songs, of course, are in Spanish.) Some of the kinks may have been worked out in the remaining previews.
There are two “Celias” in this show, Joselin Reyes, who does most of the talking, and Sánchez, who is often offstage to accomplish numerous gown-and-wig changes. This awkward role-sharing device doesn’t quite work, especially since the two actresses are so unlike in appearance and deportment.
No matter. It’s all about the music: The show’s onstage band, one of its dancers (Rogelio Douglas Jr.) and, especially, its diva (who was formerly lead singer of the Latin/world fusion band Yerba Buena) give a performance that can only be described as incendiary. I’m no salsa fan: I came to all this through the accident of apartment ownership. But I’m a new convert to Celia and to this sonorous, sensuous theatrical impersonator, whose bravura performance includes a touch of self-mockery, as if she were somewhat bemused by her own charismatic spell.
The ghost in my apartment is very pleased. Do you think I should lend to the production my authentic Celia wig and translucent amber cane that the previous owners of our apartment left behind? That ugly metal cane used by Celia near the end of the show just isn’t right: