GALA Hispanic Theatre has brought the vibrant spirit of the Bolero Bar back to life with its immersive production, Botiquín de Boleros de Columbia Heights.
Directed and choreographed by Valeria Cossu, this lively staging invites audience members to become patrons of the fictional cabaret, which is set in the culturally rich Columbia Heights neighborhood of Washington, D.C.
As the audience is seated at cabaret tables onstage or regular seats throughout the house, they find themselves immersed in the action of Rubén Léon’s heartfelt backstage musical revue, adapted by GALA artistic director Gustavo Ott.
The Bolero Bar was once hailed as one of the capital’s hottest cabarets before the pandemic led to its closure.
Now, as the story unfolds in November 2024, it reopens just ahead of a pivotal presidential election that holds particular significance for immigrants featured in the cast.
Throughout the production, audience members are treated to a mix of lighthearted moments and poignant themes, as Cossu strategically injects both humor and seriousness into the show.
The show’s interactive element is a standout feature, where performers engage the audience in the plot and even invite some to sing along during auditions for the new cast.
Casting directors Verónica (Fran Tapia) and Claudia (Anna Malavé) bring together a diverse group of characters, each with their unique journeys that have led them to the cabaret.
While some characters have remarkable backstories, others are made memorable by their singular characteristics, such as the exes Valentina (Rachael Small) and Dino (Luis Abed).
In a playful duet, “Besame mucho,” Small and Abed create a delightful dynamic, showcasing their chemistry by flirting with audience members.
Claudia, a sultry balladeer with a passionate past, delivers an emotional performance of “Adoro,” expressing longing for a lost love with fervor.
Verónica, portrayed by Tapia, also captures the audience with her rendition of “Solamente una vez,” infusing it with depth that reflects her character’s painful immigration experience.
As the characters confront their tumultuous journeys and the upcoming election, they unite for a powerful ensemble number, “Amor di mi alma,” where they sing and dance together, embodying the spirit of resilience.
While Cossu’s choreography occasionally feels mismatched to the music—such as in the contemporary dance routine performed during “Nosotros”—the overall musical direction finds its footing under the guidance of music supervisor and pianist Walter ‘Bobby’ McCoy.
The four-piece orchestra maintains a smooth rhythm as the performers navigate through the score, seamlessly capturing the essence of Latin music through lively interpretations of classics like “Quizás, quizás, quizás.”
Agustín’s performance in “La luna y el toro” stands out, as his character experiences a significant queer-coded revelation, offering a reflection on identity that resonates with the audience.
Despite moments of choreographic confusion, the production delivers an experience rich with spontaneity, joy, and poignant moments of reflection on themes of migration, love, and community.
With its tagline, “What’s broken can still sing,” Botiquín de Boleros de Columbia Heights successfully balances laughter and tears, reminding audiences of the enduring power of art and connection in uncertain times.
image source from：metroweekly
