Buena Vida: For Nick Perez ’19, helping bring Buena Vista Social Club to life was “magical,” he says. “There was a deep sense of pride across the entire company in bringing a Latino-centered story to Broadway, which still feels rare.” / Photo courtesy Nick Perez
Musician Nick Perez ’19 on His Broadway Debut, the Tony Award-Winning ‘Buena Vista Social Club’
He helped bring Buena Vista Social Club to life on the Broadway stage. From behind-the-scenes prep to conducting live performances, he shares what it’s like to be part of this celebrated production.
Mounting a theatrical production, especially on Broadway, takes a village. That was certainly the case for Buena Vista Social Club, the Tony Award-winning musical set in 1950s Havana, inspired by the lively music of Cuba’s golden age. When the show debuted in March 2025, there were dozens of “villagers” in the playbill—including Nick Perez ’19, the music assistant for the production.
In June, Buena Vista Social Club won four Tony Awards, including Best Orchestrations. We caught up with Perez soon after, to discuss the show, his role in the production, his journey from the Bay Area to Broadway, and a childhood dream come true: stepping onstage to conduct his first Broadway show.
Tell us about your role with Buena Vista Social Club. What does a music assistant do?
As music assistant, I was present at every rehearsal from day one through opening night. I tracked changes in the score, reprinted and distributed updated music to actors and orchestra members, and occasionally stepped in as rehearsal pianist. The role is really about doing whatever is needed to support the music director, music supervisor, and associate music director. It's detailed, behind-the-scenes work, but vital to the show’s success.
What was it like to work on a show like this?
It was magical! Every day was joyful, creative, and inspiring. I learned so much. Not just about Broadway, but about Cuban music and culture. There was a deep sense of pride across the entire company in bringing a Latino-centered story to Broadway, which still feels rare.
The show just won four Tony Awards. What was the mood like at the Tonys viewing party?
It was electric! There was this buzz in the air the whole night—partly because many of our cast and musicians were performing live at the ceremony. As the wins rolled in, the energy kept building. When Natalie Venetia Belcon won Best Featured Actress, the room exploded—applause, singing, dancing, champagne glasses clinking.
One moment that stood out for me was when the show received a special, non-competitive Tony Award for our band. That felt especially meaningful. These musicians—many of them Cuban-born or first-generation—aren’t just playing; they’re acting, performing, carrying the emotional heartbeat of the show. They’ve memorized the entire score, and every performance is full of “sabor.” I’ve seen the show nearly 30 times, and I’ve never once seen them phone it in.
You recently made your Broadway conducting debut. What was that experience like?
I’m now on the roster to conduct the show, and stepping into that role for the first time was exhilarating and nerve-wracking. There’s a lot of prep that goes into it, and most of it I had to do on my own. You don’t get a full band rehearsal when cycling in as a new conductor, so I watched archival footage of the show, studied the score intensely, and had a few one-on-one sessions with our music director, Marco Paguia.
What made it even more surreal is that you conduct on stage—in costume, and completely from memory, without sheet music. Once the show started, the nerves disappeared and I locked in. It felt like a full-circle moment. I’ve dreamed of conducting on Broadway since high school, and to do it was a dream come true.
“I’ve dreamed of conducting on Broadway since high school, and to do it was a dream come true.”
Working in a creative field can have a varied nature. What else have you been working on?
Before moving to New York, I worked as the principal accompanist and music supervisor for the San Francisco Gay Men’s Chorus. I arranged and performed in dozens of concerts, even collaborated on a world premiere with Stephen Schwartz and Andrew Lippa, and played twice with the San Francisco Symphony.
Since moving to NYC, I’ve made my Carnegie Hall debut, accompanied Martin Short, and played more than my fair share of piano bars. I’m also working on a new show with Franc D’Ambrosio (Phantom of the Opera) that we co-wrote, which we’ll premiere aboard a luxury cruise along the French Riviera this fall.
How did Saint Mary’s prepare you for this path?
Saint Mary’s gave me a very well-balanced education. The most unique part of the SMC music program to me were the professors who truly cared, including: Marty Rokeach, Renée Witon, Lino Rivera, Julie Ford, John Maltester. Every one of them played a role in shaping who I am as a musician.
WATCH: Nick Perez performs senior recital, "Chopin: Ballade No. 1 in G Minor, Op. 23"
Any advice for Gaels who want to work in the arts?
Network, network, network. Being a talented musician, actor, dancer, or stagehand only gets you so far. I value my connections with people as much as I value practicing my craft. Be someone that people can rely on.
Diversify what you have to offer as much as possible. Playing piano is only a part of what I do in my career: I have found very engaging work in arranging, teaching, orchestrating, and even singing Billy Joel songs in piano bars into the early hours of the morning.
What’s next for you?
In the short term, I want to keep tightening my performance and conducting work with Buena Vista Social Club. Long term, I’d love to be an associate or music director on another Broadway show. But I’ll always keep a foot in freelance projects too—piano bars, concerts, side gigs—because that’s where so many surprising and joyful moments happen.
ALUMNI STORY to share? Submit a Gael Glimpse.
Story updated July 10, 2025 at 9:30 a.m. Pacific
