I couldn’t help thinking as I enjoyed last Sunday (8 December) every minute of” Tom Jobim, the Musical” at Rio de Janeiro´s Teatro Grande —thirty years after Jobim died in a New York City hospital–the apropos words of a local acquaintance: “Due to internet there is no longer any third world culture.”
Agreed, at least in regards to this Carioca theatrical as an example to the international entertainment/artistic world.
For this spectacular production with 27 actors-singers-dancers and 13 musicians portraying the life of the composer (Rio de Janeiro,1927-New York City,1994) of the “Girl from Ipanema” is as perfect in casting, song, dance and direction as any show one might see on Broadway or the West End in London.
And I speak from the experience of having recently viewed in my native city of New York City the Argentine opera “Ainadamar” by Osvaldo Golijov turned into a gala production at the one and only Metropolitan Opera House.
“Tom Jobim, the Musical” is indeed a surprise to veteran theatergoers in Rio de Janeiro who often witnesses –to quote Jobim´s famous song– the “Desafinado,” or “Out of Tune” spectacles which often infest some local theaters.
One feels from the outset of this production to Tom´s demise from cancer that we are witnessing onstage not a re-creation but the real events as they happen :the talented boy from Ipanema (who actually was born in Tijuca) frequenting the beaches where he falls in love, marries and even composes a song to his beloved Theresa; the pianist-flautist-guitarist trying to support his family including a son (Paulo Jobim) by playing for drunks until the wee hours of the morning in what he calls Rio´s ´little hells´ (for a struggling composer) nightclubs; an over-worked as an arranger-pianist at a Rio recording studio trying to develop as a young composer,etc
Or almost the similar route which his American counterpart George Gershwin sustained as a pianist accompanist and musical secretary to musically illiterate but great American popular composer Irving Berlin!
Onstage at Teatro Casa Grande is a mostly young cast of budding excellent thespians portraying the great names in Brazilian music including composers Ary (“Brazil”!) Barroso, Villa Lobos, bossa nova guitarist-singer Joao Gilberto, chanteuse Elis Regina, among others who influenced the composer en route to fame and fortune.
International recognition came to the composer after Jobim reluctantly agreed to participate (despite his fear of flying) in the Carnegie Hall gala in New York City which officially launched the the bossa nova.
Deciding to prolong his stay in New York, Jobim discovered that all that glitters is not necessarily gold as American commercial vultures hoodwinked the composer out of many of his rights as the creator of some of the most beautiful songs of the 20th century.
He returned home to Rio, composing mornings near Rio´s Botanical Gardens, meeting with friends and admirers almost afternoons at a churrascaria or steakhouse
when not travelling the globe with an ensemble he headed with cellist-arranger Jacques Morelenbaum, singers and a small band.
And again, this musical concisely puts onstage some of those who surround the composer in Brazil and abroad including an American lyricist (who earned more than Jobim and Vinicius Morais with his translations of the composer’s songs) to American tenor saxophonist Stan Getz, portrayed as Americanizing a bit too much for Jobim´s taste the bossa nova.
Even Frank Sinatra is portrayed in scene which is recreated masterly and hilariously under the able direction of Joao Fonseca.
The breakup of his first marriage to Theresa de Otero Hermanny only to fall in love again with a photographer admirer Ana Beatriz Lontra and a new life residing near the bird’s wildlife and nature he revered in “Aquas de Marco” (“Waters of March”) and to return to the roots of Brazilian culture, setting the music for the novela-soap opera version of Jorge Amado´s novel “Gabriela.”
Death in a New York hospital of cancer (although I now read Tom had a heart attack during surgery) concludes Tom´s saga.
But in this happy musical the tragic loss of a great composer at a relatively young age is only a shadow rather than a tragic end.
The marvelous cast includes two excellent Cariocas, Elton Towersey as Tom, who also plays the piano, flute and guitar, his best pal and collaborator poet-lyricist-playboy Vinicius Moraes, portrayed by Otavio Muller.
But everyone among the singers-dancers and actors and principally the excellent musical arrangements in this spectacular authored by O Globo columnist Nelson Motta and Pedro Bricio with musical direction by Thiago Gimenes are stars and one regrets to omit any names.
Notable stars as well are Analu Pimenta portraying legendary singer Dolores Duran (1930-1959) and as another legend Elza Soares (1930-2022) an6d Jon Black singing Bonfa-Antonio Maria’ s classic ‘Carnaval Morning, ‘ Thaina Gallo as Elis Regina.
Please rush to buy a ticket to this marvelous show before it leaves us for Sao Paulo (scheduled departure early 2025) and take your visitors to Cidade Marvilhosa to see something they will never forget: a musical souvenir of an epoch gone by before imported as well as made-in-Brazil junk music took over local airwaves, nightclubs and innumerous show spots.