Gloria estefan’s music, life story come alive in broadway musical – wisc electricity and magnetism worksheets 4th grade


Luckily, the touring Broadway production of “On Your Feet!” at Overture Hall at the Overture Center for the Arts last weekend was very much up to the task. The 2015 jukebox musical that chronicles the rise, relationship and redemption of pop-music stars Gloria and Emilio Estefan was packed with kinetic energy and upbeat can-do spirit. It was also a keen reminder of the ridiculously long list of top-40 hits Gloria Estefan and Miami Sound Machine have contributed to our multi-culti pop culture tapestry. It ain’t just “Conga.”

We first meet Gloria as a child who is gently nudged to pursue her love of music by her spirited abuela (Debra Cardona). She doesn’t really begin to resonate as a character until she’s hesitantly playing “Anything for You” for the slick and suave Emilio (Mauricio Martinez) and the other members of the Miami Latin Boys. A couple scenes later, the pair have fallen in love and are off to conquer the music-biz world.

Naturally, there are obstacles — this is the ’80s, and the marketing concept of “crossover” isn’t as ubiquitous as it is today, where every other song comes with a “featuring” attached. To the music execs who keep saying no, Miami Sound Machine’s music is either too American or not American enough. Emilio’s having none of it. “This is what an American looks like,” Emilio tells a dismissive music exec. The Overture audience, naturally, treated it like a huge applause line — and, given the angry epithets being aimed at immigrants these days, it’s easy to understand why.

The show did a great job of interweaving Gloria’s family history — her parents escaped Cuba for Miami — into the musical sets. One memorable number flashes back to her mother’s (Doreen Montalyo) starlet days. As the adult Gloria, Christie Prades channels Gloria Estefan’s spirit, charisma and energy. She belts it on the big numbers, from “I-2-3” to the titular track. The ensemble numbers are energetic and beautifully choreographed. Full-scale rotating/sliding panels serve as enormous pastel canvases, turning every scene into an ’80s-era pastiche.

The emotional high point is “Coming Out of the Dark,” the song Gloria performed at the American Music Awards after recovering from the bus accident and ensuing surgery that nearly derailed her career. It feels like a climax, but there’s more to come.

As upbeat and enjoyable as this production is, there’s a sense of carefully calculated hagiography about it that grows harder to ignore as it rolls along. Every obstacle the Estefans face, whether familial (mom disapproves of Gloria’s career choice) or music-industry based (radio hesitates to embrace them) is breezed through in the wake of another genius marketing idea or the transformative power of the next big ballad or dance number. Estefan’s worldwide popularity is hammered home at every opportunity. (“Bring all of them!” says Emilio to Gloria’s sister when she asks how many of the thousands of fan letters she should bring to the hospital.) Gloria, daunted by the prospect of a comeback, says “I never wanted to be famous.” There’s no question her story’s amazing, but it’s hard to resist an eye-roll at that point.

For the most part, Estefan’s hits and the handful of show-written numbers fit Alexander Dinelaris’ book without straining the seams. One exception: The chorus of “I Don’t Want to Lose You Now,” belted out by Emilio, fits the plot point it’s supposed to serve; the verses, not so much.