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-(woman vocalizing) -(indistinct chatter)

(woman speaking)

Laritza, look at me.

Mm-hmm.

Amazing.

(both speaking Spanish)

(sobs, gasps)

(snaps fingers)

(man singing in distance)

(Andy speaking)

Andy: (in English) Just breathe.

(inhales deeply)

(indistinct whispering)

(exhales)

(exhales forcefully)

(in Spanish)

(audience cheering, applauding)

Ding, ding, ding, ding, ding. December 21st.

10 p.m. From here on in, I shoot without a script.

See if anything comes of it, instead of my old shit.

Reporter: "Rent" is a musical about life

in New York's East Village.

Chorus: ♪ La vie Boheme ♪

Reporter: In that neighborhood,

where some see only strangeness

and despair,

Jonathan Larson saw stars.

♪ The need to express, to communicate... ♪

Reporter: Now the show about downtown artists

struggling to pay the rent has moved uptown

to Broadway.

(hard rock music playing)

Reporter 2: "Rent" is energy, on stage and off.

♪ How do you document real life? ♪

♪ When real life's getting more like fiction each day ♪

Announcer: The 15th anniversary Tony Award

for best new musical goes to...

Jonathan Larson for "Rent."

-"Rent." -"Rent."

(cheers and applause)

♪ Rent ♪

Reporter: Not only is the show

one of the most popular musicals this decade,

it is starring a Miami native.

Andy Señor plays one of "Rent"'s most important characters.

I would play the Angel, y un transvestite.

Angel is the symbol of love in "Rent."

And really just works to bring people together

and to unify this very dysfunctional family.

That's me. That's me.

That's me, that's me, that's me.

(electronic dance music playing)

(audience cheers)

♪ Today for you tomorrow for me ♪

(drumbeat)

(music continues)

Andy: Once I joined the "Rent" company,

I felt like I was all of a sudden with people

who were like-minded.

I couldn't believe the company that I was in.

And the family that we started to create together,

it-it was just, for me, it was, it was a whole new experience.

Being cast in "Rent,"

that journey gave me the life that I have today.

♪ ♪

(VHS player clicking)

(Andy speaking)

(Gloria speaking)

(guitar music playing)

Man: The phone rings.

(cell phone ringtone playing)

Andy (on voicemail): Speak!

Man (over phone): Hi, Andy. This is Thom Schilling.

I'm the general manager and executive producer

here at Nederlander Worldwide Productions.

For some time, Bob Nederlander Jr.

has been working with the Consejo de Artes in Havana.

And it turns out we're going to be doing

a US/Cuban production of "Rent."

And you've been suggested as the director.

Uh, if you could please give us a call,

I'd greatly appreciate it, and we look forward to hearing from you.

Thank you.

♪ ♪

(Gloria speaking)

My mom is having a fit

because I told her that

I may be going to go put up "Rent" in Cuba.

And she's not a big fan of that idea.

(Gloria speaking)

Each week, almost 2,000 Cubans find

they have had enough of Castro,

so they get out and come to Miami, Florida.

President John F. Kennedy: I have watched, and the American people have watched

with deep sorrow

how your nationalist revolution was betrayed

and how your fatherland fell under foreign domination.

Andy: It was known that my dad

was in favor of what was going on with the Cuban government.

Reporter: This regime is based on mass mobilization

and thought control.

Andy: Just after the revolution, a friend of my dad's

basically told him, listen, if you don't get on a plane

this afternoon, they're gonna arrest you.

And so he left,

with five dollars in his pocket.

(in Spanish)

Andy: My mom had a more civilized...

(chuckles) ...exit.

They had called my grandfather saying, you know,

they had to be at the airport in four hours

with only two changes of clothes.

And so my mom and my grandfather

and my sisters had to pack up and go.

Reporter: Since last month,

25,000 refugees from Castro's Cuba

have come to America.

(static)

(in Spanish)

I think you need to think about it, Andy,

because you need to think about,

you know, a lot of things.

Number one, your career is important.

And you're going to a communist country,

and you have to really consider the boundaries

of stepping into different, uh, waters.

There's no musical theater that's done,

and this is like, it's a good initiative

to, to bring over and to, and to,

and to have them have an art form that they haven't had.

If we're always talking about, oh, the Cuban people, the Cuban people,

like this is, this is

directly for the Cuban people.

For them. With them.

(Andy speaking)

Jorge: All you're doing is helping the government.

You're not putting the power

into the hands of the people, Andy.

I don't have to change the government. I could--

If-if I can just affect a small group of people,

just by bringing a show and just working with them,

that's my part. That's enough.

(in Spanish)

Uh-huh.

Andy: If I agree to go to London,

and if I agree to do it all over the US,

if I agree to do it in China,

how am I not gonna go do it in Cuba

where my, where my ancestors are from,

where my, where my family's from?

Like the-- if anywhere there is to go

is to take it to the people who need it the most.

You're not gonna make an impact of any kind.

-Andy: Mm-hmm. -This is gonna come,

the two and a half hours are gonna finish.

-You're gonna leave Cuba. -Andy: Yeah. Yeah.

And you're gonna leave Cuba

the same as when you arrived.

-Perhaps even worse, you know why? -Andy: Possibly.

Carmen: Because they got a taste of it.

Yeah, a little bit of a taste of a freedom

that they will never see again.

Carmen: Exactly, they'll never see again.

I'm scared for you,

but at the same time,

I think it's a good opportunity for the people there to see,

you know, to have a chance.

(in Spanish)

♪ ♪

♪ One song glory ♪

♪ One song before I go ♪

♪ Glory ♪

♪ One song to leave behind ♪

Fidel Castro (in Spanish):

(shouting in Spanish)

Man: Let's take the title.

What do we mean by "Rent"?

Jonathan was really fond of, uh,

the many meanings of the word rent,

-including the "ripped apart" meaning. -Man: Right.

We've been through enough,

and we've seen our friends die.

And we've seen

the country kind of get splintered up.

It's a story about, um...

...about spirit.

It's really about, uh,

people banding together, uniting,

and telling this remarkable story.

I sort of feel like I've been preparing myself

for this my whole life.

You can't not give yourself wholly to it.

You have to rise to the occasion.

(upbeat music playing)

You-you have to sing it.

♪ ♪

♪ ♪

(horn honking)

Radio Host (in Spanish):

Andy: What I want to do is put up "Rent"

in its deepest sense of professionalism,

and... just with high integrity

and artistic value.

The fact that Jonathan Larson sat down for seven years

and worked on this show,

and then for him to, to pass away

and not see the fruits of his labor,

but, uh, the amount of lives that he's changed

and how he's changed my life,

for me, inspires me

to go out and do the most I can

with my time here.

I think that when we give ourselves,

we create opportunities and possibilities for others.

♪ ♪

How much is "Rent" gonna be when, when it's sold to the audience?

-William Morales: It will be ten. -Andy: Ten?

-Cuban pesos. -Ten Cuban pesos.

So that's how many American dollars?

-Fifty cents. -Fifty cents?

William: Also, this production

is for developing

a, a way of doing thing.

-It's for the, the exchange. -Mm-hmm.

And also see, see how-how it works

with a Cuban audience, and then they...

And it's, uh, it's the first time that this is done?

-Yes. -Andy: It's crazy to be here

after wanting to be here for such a long time.

Just walking the streets where my parents

used to walk is pretty surreal.

But I got to admit that there's a part of me

that's equally as paranoid

'cause I know that at any moment, you know, all,

you know, all of this could just fall apart.

(child shouting)

(stone clattering)

Andy: It is, uh, the first full day here in Havana, Cuba.

The first official day of casting as well.

(singing in Spanish)

Andy: I was underwhelmed.

The people that came in were... interesting.

(singing quietly in Spanish)

(singing in Spanish)

(imitating guitar riff)

(laughter)

(singing in Spanish)

Andy: Okay. Mucha-- eh, gracias.

(woman singing in Spanish)

Andy: This is a little challenging.

It's challenging 'cause they,

they don't know the pop rock style.

They don't know the musical theater style.

So, um, so I'm hoping that tomorrow,

we could find more people

that are appropriate for the show

and for the style of the show.

(singing continues)

Next!

(horn honking)

-Hey! -Hey!

-I made it! I made it! -(laughs)

Andy: It's difficult, it's really difficult.

-To find people is incredibly... -Hard.

...incredibly hard.

Did people not come out?

It's just, it's just, they're not...

they're not used to this kinda scene.

(Andy and Marcus speaking)

(laughing)

I see it. I get it.

-Look. Look at the headshots. -Oh. Oh.

Okay. At least this, this... Small but mighty that one is.

It's so sweet, you know.

Yes.

The piece speaks for itself.

And when you put the right things

in the right places, it does its own magic.

And it's not your fault. It's not your reward.

(pop music playing on loudspeakers)

This is not another play.

This is not just something that

you're gonna do for a couple months.

People come to this show, and people are changed.

People do the show, and people are changed.

It requires more of you.

That's what makes the show very important.

When you actually line these things up,

you've formed a weapon that is unstoppable.

♪ ♪

Pianist: Un, dos, tres...

(singing in Spanish)

(Andy speaking)

Andy: I'm starting to see that there's gonna be

new ways to tell this story.

(woman singing in Spanish)

(indistinct chatter)

Andy: Michael Greif, the original director of "Rent,"

is, is here.

He's a good friend and mentor to me.

It's very surreal to be doing this here,

uh, and having his support.

(speaking Spanish)

Michael: Mark's a filmmaker and sort of a narrator,

and in a lot of ways, it's, it's his story. Although...

Andy: He's got something that's really interesting to me.

Michael: ...the people he's invested in are so compelling,

they take over in the best possible way.

They're fascinating because they're dealing with life-and-death issues.

♪ ♪

Marcus: "Rent" is a very big thing,

and we get to play very small parts in it.

But they are all very important.

Bob Nederlander: It's a compressed timeframe to do this.

And of course, again, learning for the first time

presents itself with, with challenges.

But challenges that the creative team is confident

we can overcome and succeed.

(applauding)

♪ ♪

Andy: I feel incredibly at home.

I feel recreated.

I feel connected.

I feel known

almost in ways that I don't necessarily in, in Miami.

(projector clicking)

(acoustic guitar playing)

♪ ♪

(laughs)

(in Spanish)

Bah!

(laughter)

(Gloria speaking)

♪ ♪

(saw whirring)

(buzzing)

It does not need to look like it looked.

It needs to look good in here.

It needs to feel like this place.

And the more metal and the less wood

and the less scenery, the better.

Make scaffolding. That's what the original set was.

Find things and make them strong,

and it'll feel like it really belongs here

and that you're not doing a production from America.

Do a production for this room.

It's the only thing that matters.

Basically what's happened since the last time

we were here two days ago

is a piece of wood has moved from here to here,

-wouldn't you say? -Yeah.

Marcus: The power just went out clearly, again.

Again. Power's a problem here.

So here's the space in the dark.

(whirring)

We-we're calling it "Broadway Survivor,"

uh, where you have-- we're put on the island,

and you have so many tools to deal with.

There's no entrance,

so we will have to be very creative.

This also, in act two,

will flip up and stand up

and become a wall.

How? We're working on that.

Michael Catalan: Right now, all of my wireless mics

are held in customs.

There was a big government issue.

I felt like I might go to jail or something.

Thom: My biggest fear right now is technology.

The resources here are not ample.

They make extension cords out of,

uh, light sockets and zip cord.

Which... (laughs)

(Andy speaking)

(in English) That's idealistic and beautiful and American, wonderful and gorgeous.

But reality has a good way of not working out.

-Exactly. (laughs) -We try.

(strums tune)

(in Spanish)

(Andy speaking)

Bah, bah, bah, bah.

(Laritza speaking)

Andy (in English): Uh, this particular script

went from Mexican Spanish

to, uh, Castilian Spanish,

and now we're Cubanizing it.

(singing)

That's fine.

-What? -(in Spanish)

It makes no sense?

(singing in Spanish)

(in English) I'm already focusing?

(in Spanish)

(in English) Like I'm just focused. No?

I think Jonathan would be really, really thrilled

about this show being done in Cuba.

I first got a copy of the script,

and I got Jonathan singing a cassette tape

of material sometime in 1993.

And what I loved about the gig right away was

a lot of the characters were unusual characters for a musical.

They were young, and many of them were struggling

with real issues of poverty.

And I was especially drawn

to then the issues involving,

uh, HIV and AIDS in the play.

HIV infection rates are growing fastest

among minorities in inner cities,

where it's taking longer for the word to get out.

Reporter: The Bush administration remains staunchly opposed

to spending any federal money on condom distribution

or even on research to find out the best ways

to promote safe sex practices.

Stop killing us!

Stop killing us!

In the late '80s and the early '90s,

when Jonathan was working on the play,

the disease was essentially, uh, a death warrant.

And that's very much the mindset of the characters.

(singing in Spanish)

(Andy speaking)

(gasps)

(Mario speaking)

(laughing)

(sizzling)

Mario's mother: Sí?

♪ ♪

(singing in Spanish)

There's no, like, structure.

(singing continues)

It's, like, wild. It's all wild.

(woman speaking Spanish)

(singing in Spanish)

(singing in Spanish)

(in English) Or you-- No, you don't feel comfortable

with Yaite?

Sí, sí, sí, sí.

We'll start there.

(in Spanish)

(singing in Spanish)

(singing in Spanish)

(all conversing in Spanish)

(Andy speaking)

This, maybe this.

Mm-hmm.

(in English) She doesn't wanna be kissed.

She's not-- she said she's not prejudiced or anything,

that she's just like, a lot of, like, fear comes up for her.

But you're not, you're not going to go...

-Yeah. -Like, that's not...

I think she-- I think, I think we can get her to do that.

Touching each other?

No, like this kind of--

Like, she doesn't wanna be touched.

I think that she can get-- she can do this.

-And arms and... -Right, right.

Or like, hey, mister,

-she's my sister. -Yeah.

You know, just because that's, that's the natural comfortableness

-of being with this woman. -Yeah.

And if we'll never get to that comfortableness,

that's what makes me feel like I don't, I don't care.

My mom didn't want me...

(in Spanish)

Fuimos, tuvimos el show...

I'm putting on my make-up,

and then half an hour, I start the show.

Woman: Ooh, very nice. Eeeee!

-Hey. -Woman: Hi.

Interviewer: What about "Rent" itself?

You know, it's a gay theme in a country

where until very recently,

you know, gays were not even accepted.

They were put into labor camps.

That's changed a lot, and Castro actually apologized for it.

But do you see that there's potential there for a message?

The fact that the show was chosen

and that it's being done here

as the first musical is incredible.

And that it, it's such a, a celebration.

I'm walking around and seeing there's such a massive gay community all over.

And I'm, I'm thrilled to see that.

I'm hoping that that community knows about the show

and comes to see it.

And they're able to see themselves

onstage, do you know what I mean?

(Yoset speaking)

(Andy speaking)

♪ ♪

(laughing)

(all laugh)

(in Spanish)

(speaking Spanish)

♪ ♪

(speaking Spanish)

(Luis speaking)

If Angel had a way to die...

it would be in the middle of a club.

(electronic dance music playing)

♪ Take me ♪

♪ Take me, take me ♪

♪ Take me ♪

♪ Take me ♪

♪ Take me ♪

♪ Aah ♪

♪ Aah ♪

♪ Take me ♪

And the idea is, take my love.

-Translator: Toma mi amor. -Marcus: Take my life.

Take everything I stand for.

Take everything I see beautiful in you.

Take that...

and love each other better.

♪ Take me ♪

Yes.

(applause)

(indistinct chatter)

♪ La vie Boheme ♪

-♪ La vie Boheme ♪ -♪ To days of inspiration ♪

-♪ Playing hooky, making something out of nothing ♪ -♪ La vie Boheme ♪

-♪ The need to express to communicate ♪ -♪ La vie Boheme ♪

♪ To going against the grain ♪

-♪ Going insane, going mad ♪ -♪ La vie Boheme ♪

-♪ To loving tension, no pension ♪ -♪ La vie Boheme ♪

♪ To more than one dimension... ♪

Marcus: The most important part is that

you're standing next to someone,

so as a community, you're doing this.

You wanna feel the power of what it feels like

for everybody to be doing one goal.

-♪ La vie Boheme ♪ -Whoo!

(cheering, clapping rhythmically)

We did a little rehearsal, but it's good.

♪ ♪

(Luis speaking)

(laughing)

(woman speaking Spanish)

(Reynier speaking)

(laughing)

A lot of the details of Mark and Roger's apartment

were true details of Jonathan's apartment.

This isn't Jonathan anymore.

This place is just a beat-up old shell of a place.

Man: The set of "Rent" is his apartment.

And all the characters in "Rent" were his life.

And they're all bits and pieces of all of us there.

Michael: The most meaningful part of "Rent"

is how a group of friends

form a family

and how they take care of one another.

Tres, cuatro.

Cast: ♪ Antoniotti, Bertolucci ♪

♪ Kurosawa, Carmina Burana ♪

(Claudia speaking)

(Andy speaking Spanish)

Antoniotti, Bertolucci, Kurosawa.

(soulful piano music playing)

(Zammys speaking)

(Andy speaking)

(cast singing in Spanish)

♪ La vie Boheme ♪

(Luis speaking)

(singing in Spanish)

Cast: ♪ Hermanos ♪

(singing in Spanish)

♪ La vie Boheme ♪

♪ La vie Boheme ♪

-(song continues) -(clapping rhythmically)

♪ La vie Boheme ♪

(indistinct chatter)

(laughs)

(groans)

(Andy speaking)

(screams)

(Andy speaking)

(Andy speaking)

(Andy speaking)

(Andy speaking)

(Andy speaking)

(Andy speaking)

(Andy speaking)

Libertad!

(Andy speaking)

(man shouting)

Zammys: Libertad. Libertad. Libertad.

Libertad. Libertad. Libertad. Libertad. Libertad.

Libre!

(straining) Libre!

(chanting): Libre! Libre!

Libertad. Libertad.

Protesters (chanting): Libre! Libre! Libre! Libre!

Libertad.

(shouting in Spanish)

Libertad. Libertad. Libertad.

(panting)

Marcus: Making something out of nothing is always difficult.

And then when you want to have the level be

of the standard that you're used to

and the pace it requires,

it takes a tremendous amount of work.

And we literally have to sit down and ask ourselves,

how much can we give?

You-you cannot go through.

What-- You can't do this.

There will be fences and...

And that's the hard part because, yeah,

we can, we can build a theater.

We can build a theater from nothin'.

Give me six months and I'll do it.

But we don't have that. (chuckles)

We have mere weeks.

I'll keep saying,

you have to enter with...

spirit and with your character.

(translator speaking Spanish)

I know. We're working on that.

♪ ♪

Oh, it's beautiful.

Angela Wendt: This is awesome.

Oh my god. I feel sexy.

-Angela: You are sexy. -Yeah?

Angela: For the first workshop in '94,

I had $500

to put together costumes.

And so, this is more reminiscent of that.

We always wanted to make sure each costume

actually coincides

with the person that's on stage

and not as much just putting somebody

into the cookie-cutter costume.

When I unpack them now,

it's 20 years later.

It's a period piece now.

It makes you aware of time.

♪ ♪

Marcus: You can do it after. Despues...

Say it like, I have the best ass.

You know, for G street...

Is it true? Sí, sí.

-Sí, sí. I see. -She sang so low, she can't talk right now.

(Arianna speaking)

-Doctor: Eee! -Aaah!

-Doctor: Eee! -Aaah!

(doctor speaking)

(grimaces) Ugh!

(uptempo piano music)

Woman: Meow!

(Andy speaking)

(chattering happily in Spanish)

(humming)

Dos, tres, sí.

(strumming guitar)

Dos, tres, sí.

Dos, tres, sí.

No! Ba-ba-ba-bi-bap.

(singing in Spanish)

(cast singing in Spanish)

(pianist speaking)

(singing in Spanish)

Right, right.

They never heard of it...

-(singing continues) -(high-pitched vocalizing)

(high-pitched vocalizing)

Do we have time for this?

(Andy speaking)

(indistinct chatter)

(Andy speaking)

(in English) I don't, I don't understand...

(in Spanish)

(in English) Anybody?

Anybody?

Un, dos, tres.

(singing in Spanish)

(crew member speaking)

(pianist speaking Spanish)

Man: Today, everyone was late.

Except one person.

(coughing)

Listo.

♪ ♪

(sighs)

(woman speaking)

(Dr. Paula Zayas speaking)

-Ah! -Ah!

(sighs)

(laughing)

Aaaaah.

(laughing)

Hmm.

(Dr. Zayas speaking)

(laughter)

(both laugh)

(laughter continues)

(winces)

♪ ♪

Who's missing but not communicated?

Look around.

(whines)

(cast speaking)

(woman speaking)

(Mario speaking)

(Andy speaking)

(Mario and Laritza speaking)

(Yoset speaking)

(Laritza speaking)

(Andy and Laritza)

(in English) That's your group.

-(indistinct chatter) -No, no, shh!

(in English) That's your group.

(conversing in Spanish)

(Zammys speaking)

There you go.

(Andy speaking)

Andy: This is more of the same.

(in Spanish)

(conversing in Spanish)

Shh, one second.

Come back in for one second. This-- If this is all...

(speaking Spanish)

(speaking Spanish)

Andy: Good.

(in Spanish)

Andy: (in English) Beautiful.

Now we're starting to get there.

(all conversing in Spanish)

♪ ♪

(Raul Castro speaking on TV)

(cast cheers)

(cheering and applauding)

(singing in Spanish)

(Andy speaking)

(in English) Like tomorrow, no joke,

es pom, pom, pom.

Es militant.

(rock music playing)

Thom: They have their methods,

and we have ours.

If I totally tried to switch over

to our methods of doing things,

it would never get done.

(rock music continues)

We're not teaching them. We're working together.

(all speaking Spanish)

(Raul Castro speaking)

President Barack Obama: This is not just about politics.

This is about family.

The recognition of a common humanity.

The reconciliation of people bound by blood

and a belief in one another.

That's where progress begins.

We can make this journey as friends and as neighbors

and as family, together.

(in Spanish)

(applause)

Thank you.

♪ ♪

(airplane whooshing)

♪ ♪

(inaudible dialogue)

♪ ♪

-Man: ¿Como esta ahora? -Oh my god.

(man laughs)

Wow!

Oh my god.

Andy: ♪ ...like I am free again ♪

♪ Whenever I'm alone with you ♪

♪ You make me feel like I am home again ♪

♪ However far away ♪

♪ I will always love you ♪

♪ I will always love you... ♪

(men singing in Spanish)

(singing continues)

Man: Woo!

(engine sputtering)

(Gloria speaking)

♪ ♪

♪ ♪

Hi.

(Reynier singing in Spanish)

I would've said something bad about you.

(singing in Spanish)

Whoa!

♪ Whoa ♪

(indistinct chatter)

Gloria: (in English) Okay, bye.

♪ ♪

Andy: I think that the hardest part about this is that

visiting her mom's grave is

one of the main reasons my mom chose to come to Cuba.

It's something that she's been wanting to do ever since they left.

Something... I don't know. She, she felt incomplete with.

(Gloria speaking)

(Glorita speaking)

Mm-hmm.

(Glorita speaking)

Mm-hmm.

(sniffles)

(sighs)

♪ ♪

(indistinct conversations)

-Man: Cheers! Cheers! -(all cheering)

(clinking)

Welcome to the peasants' feast.

(in Spanish)

How do you say "peasants"?

-Campesinos. -Man: Campesinos.

(applause)

(woman speaking)

(cheering, whooping)

(applause)

♪ ♪

We've never had opening night on Christmas Eve, ever.

This is the first one.

It's pretty special, "Rent" in Cuba.

♪ ♪

♪ ♪

(Andy and Claudia speaking)

(audience applauding)

(indistinct conversations)

(exhaling forcefully)

(audience cheering, applauding)

(strumming)

(cheering intensifies)

(audience cheering)

(whooping)

(electronic dance music playing)

(singing in Spanish)

(audience cheering)

(Laritza singing in Spanish)

(singing in Spanish)

(mouthing lyrics)

Woo!

(soulful piano music playing)

(singing in Spanish)

A true sign of change in Cuba,

the arts staging a huge comeback tonight.

The Tony-winning musical "Rent"

opened in Havana on this Christmas Eve.

It's the first Broadway show staged in the communist country

in more than 50 years.

Newscaster 2: Delegations zeroed in on reopening embassies.

There is great hope that this will soon become

the US Embassy again.

(audience cheering, applauding)

(cast singing in Spanish)

(singing in Spanish)

(singing continues)

(song continues)

(Arianna speaking)

(song continues)

(song continues)

(inaudible dialogue)

(song continues)

(song continues)

(audience cheering, applauding)

All: "Rent," Havana, Cuba!

(cheering and applause continues)

(cheering)

The end!

-(peppy guitar music playing) -(Mario speaking Spanish)

(laughing)

Andy!

We're going to New York!

♪ These vagabond shoes... ♪

♪ Are longing to stray ♪

(Mario singing in Spanish)

(squealing)

(in tenor) New York!

(song continues)

(indistinct conversations)

-Hi. -Hi.

(both speaking Spanish)

(song continues)

If you would like to leave with something special,

you can do that for a tax-deductible donation.

Hi. Hi. Welcome. Welcome to Broadway.

They do "Rent" in Cuba?

Oh, we have to see it now.

Man: Arms up.

Arms down.

Two...

-No! -Sí.

I would like to hire you for your first official job.

Show this card to your employer

to verify authorization to work

during the dates on the card.

Yeah!

Uh, we're heading to the American embassy.

It is now the American embassy,

not the US Special Interest office.

(song continues)

(Gloria speaking)

No day but today.

(song continues)

(song ends)

(laughter)

(speaking Spanish)