Interview: Vincent Ortega On Directing IN THE HEIGHTS at The Gateway Playhouse

We spoke to Director Vincent Ortega about staging  IN THE HEIGHTS at The Gateway Playhouse. Vincent Ortega makes his directorial debut at The Gateway; however, he has appeared onstage in numerous productions as well as served as Dance Captain and Co-Choreographer.

Past credits at The Gateway include The Wedding Singer, A Century of Christmas, Dirty Rotten Scoundrels, A Chorus Line, Spamalot, South Pacific, Rock of Ages, The Addams Family, The Rocky Horror Show, Flashdance the Musical, On Your Feet, Elf The Musical, and Head Over Heels. Other Choreography highlights are Nickelodeon, Disney’s Descendants, Super Bowl, Camilla Cabello, The Black-Eyed Peas, Janet Jackson, and most recently at London’s O2 arena with Ice Cube. Choreography projects, also include work for Netflix and Disney Channel.  

From the creator of the smash Broadway hit Hamilton, Lin-Manuel Miranda’s In the Heights tells the universal story of a vibrant community in New York’s Washington Heights neighborhood – 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 on the brink of change - full of hopes, dreams, and pressures; where the biggest struggles can be deciding which traditions you take with you and which ones you leave behind. In The Heights is the winner of the 2008 Tony Award for Best Musical.

IN THE HEIGHTS is directed and choreographed by Vincent Ortega, with musical direction by Andrew Haile Austin.

The cast is led by Ryan Alvarado as Usnavi de la Vega. Mr. Alvarado appeared as Alexander Hamilton in the U.S. National Tour of Hamilton, as well as numerous productions of In the Heights across the country.

Supporting players include Chelsea Zeno as Vanessa, Christian Brailsford as Benny, Alia Munsch as Nina Rosario, Sydia Cedeño as Abuela Claudia, Francisca Muñoz as Camilla Rosario, Rubén Flores as Kevin Rosario, Michelle Alves as Daniela, Javier Garcia as Piragua Guy, Mateus Barbosa Da Silva as Graffiti Pete, Bryan Ernesto Menjivar as José, Felipe Cristancho Rodriguez as Sonny, Juliana Andrea Betancur as Carla, Marina Vidal as Yolanda, Emily Anne Goes as Doreen, Stemarciae Bain as Gladys, Manuela Agudelo as Yesenia, Rodolfo Santamarina as Tito, Jorge Echeverria as Julio, and Pragun Bhardwaj as Domingo. Additionally, youth players include Emilia Birmelin and Keno Guttierez.

What drew you to direct In the Heights and how does it resonate with you personally?

When I first saw in the heights in 2009 I never would have thought I’d be directing the show years later.  It was the first time I saw myself on stage the second the show started.  I grew up as a back up dancer for artists.  And seen many Broadway shows but never saw my self in any characters.   I knew the Rosario’s, I knew Vanessa, I knew Usnavi and related to everyone. I knew one day I’d be involved in some capacity. It seemed like a perfect fit the first time I directed the show. 

Given your extensive background in dance and choreography, how has this influenced your direction of the musical?

Growing up as a back up dancer I never connected the dots of story telling.  My associate Bryan Ernesto Menjivar and I spoke about what every move means to us.  Where everyone is going on this one block on stage. Where they came from.  And how specific movements push the story forward.  I think the specifics of movement helped me realize about specifics in direction.  Actors love specifics. But also I gave the actors freedom to explore who these characters are and where they came from.  This is the first time I directed the dancers to have specific characters.  It’s been a blast to figure out. 

Can you share any unique challenges you faced while transitioning from choreography to directing for this production?

The biggest challenge by far was my major imposter syndrome!  I had very big ideas for this show.  It never occurred to me that it’s ok to try something and see it not work.  What I always forget, even with choreography, you end up finding something better though trial and error. I really try my best to create a room of trust. The cast was so open to try new things with me. I am forever grateful for them. 

In the Heights is known for its vibrant storytelling and dynamic characters. How did you approach casting to bring these elements to life?

I’ve mentioned before that I felt like I knew these characters personally in my life.  I leaned on what I knew. If I felt like I knew them when they walked into the audition room.  Then it was the puzzle… does this person feel like they are real friends.  It was about finding the honesty within them.  I had specific vision for these people.  For example I envision Camila Kevin Piragua Guy and Daniela are the only characters that have been to their “homeland” so they have to have a familiarity of Puerto Rico, Dominican Republic. Daniela is the “Big Sister” of the neighborhood.  Sonny is everyone’s favorite little brother.  Graffiti Pete has a bad boy rep but secretly has a heart of gold.  I could go on and on because I love these characters so much!

The musical reflects the essence of a tight-knit community. How did you work with the cast to build this sense of community on stage?

This was my favorite part of the process.  I had a one on one with each of them. About not only who they are but what their relationships are in “El Barrio.” Sydia Cedeno Who plays our Amazing Abuela Claudia, we had a conversation about this character and who she was to the both us.  We share a bond Sydia and I.  We both lost our mothers around the same time.  And we paid respect to our mothers adding moments that were familiar to us.  She took it upon herself to be the cast Abuela, cooking for the cast, telling them to put their coats on in the rain.  The cast have family dinners.  We got to explore with the staging how they all know each other.  Everyone has a moment with someone else.  Although in real life and around the world, some people may not get along. But In this version I directed the cast to play the positive.  Share the love.   On our set I had the whole gateway staff and cast and crew to submit a picture of someone they want to dedicate the show too.  So when you come to the show, those pictures on the set,  in the bodega, salon and dispatch those are real people we know.  My Dad is right there in the Bodega. 

This production marks your directorial debut at The Gateway. How has your previous experience with The Gateway influenced your approach to this production?

I LOVE GATEWAY!!  I always want to find a reason to work there.  There was a lot at steak to Direct there.  More in myself.  I didn’t to let my Gateway Family down!!  What i didn’t expect was how supportive everyone in every department was there.   I was quickly reminded how encouraging they have always been since the first time I performed there in 2008. I know and love gateway audiences and I knew they were going to love this show just like I do.

With such a large and diverse cast, how do you ensure that each character's story is given attention and depth?

What I love about this show is the details. There are subtle moments I’ve added throughout the show.  There is more Spanish then originally done.  But not enough to confuse the audience.  Also, in the second act, the big dance number Carnival Del Barrio, I asked the cast what flag they would like to represent them selves. The number is about reclaiming a neighborhood that was damaged during a recent black out.  And paying homage to the land that their ancestors are from.  So I made sure each flag on the stage is representative to every human on that stage.  It’s beautiful. 

What do you hope audiences will take away from your production of In the Heights?

The first thing you think of when you see a title like In The Heights is it’s a story about a Latin community. And though it is about a Latin community, every audience member of any race will find familiar someone up there on that stage. Everyone can relate to the storyline of family, staying together, and relationships in a neighborhood. That when you have a problem, you come home with a little patience and faith things iscome clear.  I think they will find heart and joy in these characters.  And above all, I want them to feel like they are in the community and they could easily join us right up there on that stage and feel at home.  

Finally, what advice would you give to aspiring directors and choreographers who look up to your work and achievements?

I’ve been lucky enough to work with a lot of director/Choreographers is my whole life, and I was able to take a little piece of the lessons that I’ve learned from them and pass it on to others. I am so proud of my Mexican roots.  I never dreamed I’d be in a position to inspire and encourage others.  I think the biggest life lesson I’ve learned is that it’s never too late. No matter where you came from You’ve earned your space in whatever room you are in. There’s no limit to dreaming big because Larger Than Life is just the right size. 
 

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