BWW Reviews: The Regional Premiere of IN THE HEIGHTS Sizzles and Fizzles at Vintage Theatre

Vintage Theatre presents the Tony award winning, IN THE HEIGHTS now through September 1st in Aurora, CO. Welcome to Washington Heights - a place where the coffee from the corner bodega is light and sweet, the windows are always open and the breeze carries the rhythm of three generations of music. It's a community where the biggest struggles can be deciding which traditions you take with you, and which ones you leave behind.

Typically, the performers and the technical design team work together in a glorious harmony to put forth an excellent production for the senses. Usually this forms one amazing cohesive unit for a night of visual enjoyment. Unfortunately, while the actors sang their hearts out in memorable moments and songs, due to several glaring technical errors, the show seemed to dissolve before my eyes and never reached its full potential. Now that I have made this bold statement, let me give you some examples to back this up. The biggest offender for me was the sound (by designer Curt Behm and Sound Board Operator Dylan Kramer). I was frustrated from the first song that I could not hear Alejandro Roldan's rapping in the opening number because his mic was not turned up (or even on at all). This continued on throughout the show as the ensemble seemed to drown out the leads during so many numbers and I struggled to hear dialogue and solos. Another disappoint for me was the lighting (by designer Karl Jones) that missed obvious lighting cues that would have added so much to this show and the actors performances. The perfect example of this is when everyone is singing their hearts out on the passing of their beloved Abuela in Alabanza. The setup was there as the cast was holding candles in remembrance to just dim all the lights and have this emotionally charged song done by candlelight. With this simple (and obvious) lighting effect - there wouldn't have been a dry eye in the house. Another suggestion would have been to have the entire second act done in half-light (they are still in a blackout for Christos sake) and have the lights come alive and bright in the final number - Home. The choreography by Matt LaFontaine was also quite puzzling to me. The first number was so complicated that there were several ensemble members were still stumbling on some of the moves and that also happened in other big numbers. Other songs highlighted the most basic samba moves that made it almost comical and I thought the insertion of the Congo line was a little tacky and out of place; especially when you have a culture that is rich in such varied and visual dance moves (just turn on - So You Think You Can Dance?). Also I wondered why he did not feature exceptional hip-hop dancing of Asad Clinton more and I was also confused by the ballet extensions that occurred way too often. While I adore seeing Matt perform and dance with such skill onstage, the transformation into choreographer let a little something to be desired. Music Director Midge McMoyer Smith made some excellent choices in finding the talents for this production. I did also appreciate have the band hidden onstage, but needed them muted a little more (or maybe the mics turned up) as they overpowered the singers several times during the show. Another small issue was the blending of the chorus. While I appreciated the passion and gusto, they needed to be reeled in just a little to highlight to leads and solos in the songs. Director Rebecca Joseph showed great promise with this venture and I loved her blocking of this large cast; however, I did notice that there were several pauses in between scenes that added to the length of time of this show. You can tell that she is still a little young in her directing career, but I look forward to seeing her maturity and growth in future productions. One good thing on the technical side was the set by designer Colin Roybal that was an awesome cityscape of The Heights and worked so well with this large ensemble. I just wish there was more graffiti art on the walls. The reason I am showing such tough love is because I feel that this production of so important for the predominate Hispanic neighborhood that the theatre is spot in the middle of. I love that this show gives a total sense of Hispanic pride, but only wish the company had taken it a step further.

Now enough freaking negativity - let's talk about this talented and diverse cast. This show belonged to Alejandro Roldan in the lead as Usnavi. From his first song, (In The Heights) to his last (Home) he had the audience transfixed with his boyish charm, humor and floetics that were effortless from his lips. Janessa O'Fallon as his love, Vanessa was also quite good but I would have liked to have seen more range from her. It Won't Be Long Now, her fierce solo in 96,000 and Champagne really highlighted her wonderful voice. I loved the subtle, yet amazingly strong performance of Marisa Dannielle Herbert as Abuela Claudia. She captured .everyone's hearts with her stunning showing and I adored her tender, introspective rendition of Paciencia y Fe and Hundreds of Stories duet with Usnavi. Sonny (hilariously played by the adorable Carlos Jimenez) was the real scene stealer and he knew it. He had the entire audience in the palm of his hand and just had fun with the role. In a close second for stealing the show was that hilarious duo of Amy Luna as the gossip salon manager, Daniela and Terra Salazar as her clueless assistant, Carla. They played off each other so well much to the delight everyone and No Me Diga put a smile on everyone's face. One voice that made me stand up and take notice (especially in Breathe and Everything I Know) was the sensational Jenna Moll Reyes as Nina. There was so much passion behind this stunning performer and I look forward to seeing her in future productions. Her love interest, Benny (played by the wonderful Vincent Smith) was also superb and they were a perfect pairing, both in chemistry and vocal harmony. I thoroughly enjoyed When You Are Home, Sunrise and When the Sun Goes Down. Robert Payo as the disapproving father, Kevin was excellent and he exuded heart into his character. Inutil was good, but I wish he had delivered it dead on to the audience more. One of the most memorable songs of the night was Enough, passionately performed by Arlene Rapal as Camila. I loved her decision to not sing the end but actually speak it that was simply amazing and gave me chills. In addition to this, she brought so much humor and heart to the Mama with a heart of gold! I could not get enough of the charming performance of Jacob Villrreal as the Piragua Guy. He brought a wonderful energy with him every time he danced onto the stage and the audience adored him!

Even with all of this said, the audience seemed to really enjoy the amazing voices and wonderful representation of Hispanic culture. IN THE HEIGHTS is energizing audiences now through September 1st at Vintage Theatre. Performances are Fridays and Saturdays at 7:30 p.m. and Sundays at 2:30 p.m. For tickets or more information, contact the Vintage Theatre box office by calling 303-856-7830 or online at www.vintagetheatre.com. Vintage Theatre is located at 1468 Dayton Street in Aurora, CO.

PHOTO CREDIT: Denver MindMedia

Alejandro Roldan as Usnavi and Marisa Dannielle Herbert as Abuela Claudia

The cast of IN THE HEIGHTS

Janessa O'Fallon as Vanessa

The cast of IN THE HEIGHTS