A Musical by Ada de Luque

Ahoy maties! 

Set your sails to the winds of a wonderful adventure… “The Pirate’s Daughter” !   Set in the 18th century, colonial Havana, Cuba, during the age of Golden Piracy… 

A ravishing musical about pirates, villains, heroes, racial prejudice and injustice, forbidden love, and the courage to fight for love, to stand for goodness and love instead of evil and fear, and all wrapped up in beautiful music, singing, dancing, adventure… and fun!
Reviewed by S. Ricco

( Independent critic of the Arts, South Florida / Modena, Italy )

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Reviewed by Stefania Ricco


The Pirate’s Daughter, a Musical composed and created by Ada de Luque, was successfully staged just a few days ago, with a cast of young artists of remarkable interpretative and singing skills.

This approximately two-hour show attracted full theater capacity to the Lehman Theater of Miami Dade College, obtaining great acclaim on both evenings, and earning standing ovations. Warm enthusiastic applause accompanied the singing and dramatic scenes, and the comedic dialogues elicited roaring laughter from the audience due the witty slapstick comedic actions and dialogues.

The story is set in 18th century Colonial Havana – Cuba, during the Golden Age of Piracy and is centered on two interracial love stories, through which Ada de Luque directly emphasizes the social and racial prejudices of that era which, however, are still recognizable in the current era.

The extraordinary musical composition and vocal arrangements of Ada de Luque, with the masterful instrumental arrangements and orchestrations of Michael Barry (the author of orchestrations of Beauty and the Best, Riot Game’s League and Star Wars), have combined wonderfully to serve the story line, resulting in thrilling the audiences for the beauty of this music, and the vocal range which required virtuosity on the part of the singers.

Among the musical numbers, two are deliciously sprinkled with syncopated Afro-Caribbean seasoning, “Drume” and “Yemaya”, giving them a fitting ethnic touch. In “Yemaya”, Ms. de Luque brilliantly combines the catchy lead tenor solo melody with a countermelody by two bass-baritones singing in Yoruba, in contrast to the lead tenor’s English lyrics.

As far as the lyrics are concerned, Ms. de Luque portrays a refreshing and exquisite mixture of poetry and rhyme that is not often seen in today’s musical theater world. The script was skillfully effective, faithfully adhering to the dramatic situations and nuances.

In addition, Ms. de Luque’s use of duets, trios, quartets and ensembles was engaging and rewarding both dramatically and musically, highlighting her extraordinary compositional talents. Both of the vocal ensemble chorus numbers of the “pirates” were fun, catchy and effective, adorned by entertaining dancing successfully choreographed by Natalia Rocamonde. Angelical and moving was the “Ave Maria” ensemble, by the chorus and principals. All choruses were expertly directed by both Ms. de Luque, and Pablo Hernandez (MLO Chorus Master).

Last but certainly not least, the stage management and direction were effectively held together by the expert and excellent work of Sandi Stock (Stage Manager/Deck Chief), and most importantly, this amazing production came to life by the paramount and indispensable efforts of Ms. Aileen Ochoa, co-producer.

In finalizing my impressions of this remarkable new musical, The Pirate’s Daughter, I truly feel gratified in saying that this work by Ms. de Luque definitely has the potential to shine on Broadway as one of its new big hits. 


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