Review: IN THE HEIGHTS from New Stage Theatreworks at Theatre Tallahassee

Here is what would have made New Stage Theatreworks' production of In the Heights more authentic: Smell-o-vision.

There's a certain atmosphere about a New York City neighborhood that can only be adequately portrayed by a combination of putrid city odors mingled with fantastic cooking smells, warmed into a mélange by a hot, steamy NYC day. Probably the kind of thing referred to early in the show as the "flavor of home."

Obviously, a theatre production can't do that, but this production of In the Heights did everything else possible to replicate the Washington Heights neighborhood where the story took place.

There are portions of In the Heights were so much is going on that it would be easy to lose focus on the point, but this cast pulled it off beautifully. For example, the activity in the salon taking place as other characters carried primary parts of the plot complemented instead of distracted (and I really wanted to know what they were gossiping about back there!).

This production's standouts included:

Adelina Mitchell as Nina, with her rendition of "Breathe," roped us in to her dilemma.

Leslie Gonzales Gray as Abeula Claudia, especially how she took command of the stage declaring "Calor!" at the beginning of "Pacienca y Fe." She also demonstrated a physicality that helped us as audience members feel how burdened she was with the heat, her age and her physical ailments.

This show would be diminished without strong chemistry between Nina (Mitchell) and Benny (Brandon Santos). The two actors' attraction and devotion was convincing throughout the show, and especially strong during "Sunrise."

When the salon's workers were let out of their isolation and participated in the community's goings-on, they were funny and compelling.

John Campana as Kevin's plaintive feelings of uselessness showed; his portrayal of barely-controlled raw emotion (anger, sadness, disappointment) was masterful. Jania Sanchez Kadar's Camila stayed behind the scenes until just the right time, her "Enough" number.

No show should be one-dimensional, and this one certainly was not, but the emotional peaks and valleys, the counterpoint of raucous versus quiet, worked especially well.

The orchestra should be commended for its pacing and its contribution. The lighting designer, too, especially for the way Nina and Benny's shadow was framed toward the end of the show.

Usnavi (Melbin Borrero III) is, of course, pivotal to this show. Usnavi has so much fast-paced dialogue, so many demands to be the constant source of energy coursing throughout the show. He was that and more. (His sidekick Sonny (Keith Martinez) and Graffiti Pete (George Ramirez) punctuated Usnavi's central role creatively.)

The "1943 New York" scene was an important reminder that life in New York can change quickly; an ethnic group may be on top of the world one day, but cleaning the floors the next. It was a critical pivot point for this show.

In a very few circumstances, some vocals were bigger on enthusiasm than musical mastery, but enthusiasm ruled the day.

Several actors mentioned in their bios that they had personal cultural connections to this story. Those personal connections showed with every note sung, every word spoken, every dance step taken.

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