In The Heights takes place in a neighborhood; a street corner really, in Washington Heights, New York City. While technically in Manhattan, the Heights has an identity all its own. Lin-Manuel Miranda who conceived, wrote and starred in the Off-Broadway and Broadway productions, has written a love letter to The Heights.
Usnavi (played in this production by
Joseph Morales and the role Mr. Miranda created for himself), owns a small bodega; and dispenses café con leche and good will in equal parts. The neighborhood is multi-generational blend of Latino cultures; Puerto Rican, Dominican, Mexican, Cuban and Chilean among others and is in a midst of a seismic shift. The elders, who have anchored the neighborhood are dying. The hair salon is moving; “from the barrio to the ‘hood” The Rosario family’s small taxi business is successful enough to attract outside investors. Young people, who previously thought they would live their lives in the neighborhood now have a role model in Nina (
Genny Lis Padilla), a young woman who is home for the summer from Stanford University. Navigating new realities is a universal theme, and is presented in an engaging and accessible manner.
The opening number is a lyrical twist on the traditional big Broadway opening. The gorgeous, complicated, delicate rap and lyrical rhyme of this number, and the other rap-centric numbers, were unfortunately, nearly obliterated by sound technicians who were asleep at the board. The on-stage performers were mic’ed with a slight (and completely unnecessary while rapping) echo to round out their singing. The band/orchestra bled all over the on-stage performers during the quiet, emotional moments; disappointing and distracting.
The song “96,000”, refers to a winning lottery ticket, sold at Usnavi’s bodega and explores everyone’s favorite fantasy: What would we do if we hit the number and won $96,000. Stand-alone, the number is joyous and rollicking. When it is revealed that Usnavi’s chosen Grandmother “Abuela Claudia" (
Elise Santora) is the winner, the audience is hooked. The actors fade and we are happy for the characters as real people.
Act One closes with a literal bang in “The Club/Fireworks”. It is July 4th, and people are out in the club dancing to forget. The cast gets to show off while dancing to the infectious beats of salsa, reggaeton, samba and urban R&B.
Jose-Luis Lopez (playing Graffiti Pete) and
Lexi Lawson (playing Vanessa) are stand-outs in this number.
Being a Broadway musical, all of the Act One conflict is resolved, rather formulaically, in Act Two, which runs a bit longer than necessary. This doesn’t detract much from the layered characters, and meaty plot that Mr. Miranda has created.
Howell Binkley’s lighting design melds seamlessly with
Anna Louizos’ amazing set design which is part optical illusion and part mirage. With occasional exceptions,
Andy Blankenbuehler has created choreography that should be accessible to community theaters and high schools, where Mr. Miranda predicts, and I hope, the musical will live for a long time to come.
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In The Heights plays at
Providence Performing Arts Center (PPAC) through January 16, 2011. Tickets range from $41 - $68 and can be purchased at the PPAC Box Office which is located at 220 Weybosset St., Providence, RI, by phone at (401) 421-2787 or online at www.ppacri.org.
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