BWW Reviews: American Stage in the Park's Lively IN THE HEIGHTS

What's the best musical of the 21st Century?

That's the question I asked recently: What musical has come out since 2000 that should be crowned "Best of the Past 15 Years"? There are some obvious nominees--Next to Normal, Avenue Q, The Book of Mormon. How about such popular shows as Wicked or The Producers? What about Spring Awakening? One friend tells me that I should put Once near the top. Another swears that Urinetown is the best of the best. I haven't seen Hamilton yet, but people are already suggesting that as well.

But any conversation about the best musicals of the past 15 years must include Lin-Manuel Miranda's IN THE HEIGHTS, which fuses hip hop, salsa, pop and show tunes and which first took Broadway by storm seven years ago. Judging from American Stage's robust, lively production, their current "American Stage in the Park" foray, IN THE HEIGHTS needs to be either at or near the top of that sacred list. "Alabanza" alone should place it there, let alone "96,000" or "Everything I Know."

American Stage in the Park is celebrating its 30th year, and it couldn't have picked a better show to party hardy with. If you haven't experienced this tradition, this is the perfect chance (unfortunately you only have one weekend left to do so). It's an experience more than just a show. Booths selling T-shirts, ice cream, and pulled pork surround the venue. Sections are divided for those people sitting on blankets, on the grass, or in chairs. An elderly couple near me brought a bottle of champagne and champagne glasses and enjoyed the bubbly beverage throughout the show; I told them that they do life right.

There is an air of joy from all involved--the audience and the performers--and I recommend that you come early to experience the sound check. I know it doesn't sound exciting, but where else can you hear the show's Piragua Guy sing a few bars of "I Dreamed a Dream"? The audience was pumped, partying heavily and, with the weather cooperating, they were ready to watch a great show.

The show certainly did not disappoint. Of all the Park shows American Stage has done in the past three decades, IN THE HEIGHTS, both musically and thematically, seems to fit the venue best.

IN THE HEIGHTS isn't the first show to incorporate rap in its score. Some people (including the great Stephen Sondheim) claim Meredith Wilson (yes, that hip hop predicting master responsible for the raptastic Unsinkable Molly Brown) introduced something that sounded like a prototype of rap in the "Rock Island" opening of 1957's The Music Man; but that's more a patter song than anything resembling future rap (despite the fun but misguided rap-fueled appearance of it at last year's Tony Awards ceremony). In a section of Into the Woods, Sondheim incorporated rap in it, briefly at least, with the Witch's litany in the "Prologue." It's an interesting use of rap patter, done at the same time as the early rap reign of groups like Run DMC, but it doesn't go anywhere beyond a Sondheimian experiment in how to write hip hop in a show featuring fairy tale characters. But IN THE HEIGHTS uses rap throughout its story, to move it forward in a contemporary way; without it, it would be nothing more than a Rent of the barrio. But it's a much better musical than Rent, more electric and alive, and it earns its tears without cheating the audience (which Rent does with the Mimi resurrection that is so hokey it could have been written by Jerry Herman). And IN THE HEIGHTS uses rap brilliantly, to propel the story properly, not just as some sort of gimmick.

Lin-Manuel Miranda's exquisite music and lyrics, along with Quiara Alegria Hudes' book, thrusts us into New York City's Washington Heights barrio, where we care about the various (mostly Dominican-American) denizens. Leading the way in the American Stage production is Justin Gregory Lopez's brilliant turn as Usnavi, part-time narrator and lead character, named after a US Navy ship his parents saw when they first arrived in America. Lopez is a commanding presence, strongly owning his role, and he sings beautifully, especially in the rousing "96,000" and the tear-inducing "Finale."

As his love interest, the fiery Vanessa, Christie Prades is a revelation. She gives one of the strongest performances of the night with lively dancing and killer vocals. She out-Anitas any Anita in West Side Story; you can't take your eyes off her. As the tamer Nina, Jessica Kahkoska displays incredible vocal range along with a necessary vulnerability in the part; she's emotionally wounded, a humbled hero dropout who doesn't want to disappoint her family. Nina must make some hard choices, especially after leaving college much to her parents' consternation, and in the sure hands of the lovely Kahkoska, her storyline resonates. And her songs are breathtaking. "Breathe" as sung by Kahkoska is stellar, her "Everything I know" second to none, and her start of the heartbreaking "Alabanza" is the highlight of the show.

"Alabanza," which is guaranteed to make you cry, may be my favorite musical moment of the year thus far.

As Benny, Nina's love interest, the extremely likable Marquez Linder brings to the role so much life, so much verve. And he hits a vocal slam dunk with his duet with Kahkoska, "When the Sun Goes Down."

Nina's parents, Kevin and Camilia, are played by Jorge Acosta and Susan Haldeman. Acosta is the anchor of the show, keeping every moment real. His "Initul" is brilliantly performed. Haldeman has never been better as she brings down the house with a rousing, passionate "Enough."

As the elderly Abuela Claudia, Melanie Souza has two numbers sung to perfection, "Paciencia y Fe" and "Hundreds of Stories." Renata Eastlick is a dynamo as the gossipy Daniela. She gets to showcase some serious pipes on "No Me Diga." Jesse Carolan-Rodriguez's Sonny is a hoot, with whip-smart comic timing. Anthony Murphy, as the Piragua Guy, is one of my favorites in the cast, displaying incredible vocals and harmonies throughout the show. His "Piragua" is a throwaway number that, in his capable hands, becomes a showstopper.

The ensemble is quite strong, bringing to life all of the numbers with rip-roaring dance skills (well choreographed by Domenic Bisesti) and grand harmonies. Rodner Salgado as Graffiti Pete, along with the rest of the cast, gets to showcase high-energy physical dance moves that deserve the audience's applause.

It all comes together perfectly for a more-than-memorable night in the park. The entire show has been gorgeously staged and directed by Karla Hartley; the pace of the production is snappy, never stopping, and yet it never feels rushed. Hartley also gets solid, heartfelt performances from her entire cast, right down the smallest ensemble member (each one a character filled with life). The orchestra led my musical director J.P. Kavanaugh is exceptionally tight. The ubiquitous Mike Wood's seamless lighting turns tech work into works of art. Saidah Ben-Judah's costumes suit the show well, and Steve Mithcell's incredibly detailed, multi-leveled set design is to die for. (Jerid Fox's perfectly placed props and set pieces make us feel as if we really are in New York City.)

The only quibble with the show, and maybe it's more than a mere quibble, is the sound glitches that marred the end of Act 1 and some moments in Act 2. These snafus probably have to do with the environment at hand--I know it's hard to put on an outdoor show in the park, let alone one as great as this--but that doesn't excuse the microphone problems that assaulted this production, especially when it's the lead actor's microphone in question. This show is one of those special moments that St. Petersburg residents will talk about long after it closes. Any noticeable tech issues take away from that shared euphoria, even if for just an instant, and that's sad. This is one of the great experiences local audiences will have (and one of my favorite theatrical experiences of the year), and the cast is as talented as it gets; the audience deserves better, and the performers that the microphone misfortunes directly affect certainly do as well. Hopefully these undermining mic mishaps will be straightened out before the show's final weekend.

Since I started reviewing for BWW, two productions catapulted from being just great shows into something transformative--something beyond theatre, beyond entertainment. In some ways they become a Collective Happening, a moment where the audience bonds, and a memory of the entire enterprise, not just the joy found on the stage, is embraced by anyone lucky enough to be in attendance. Those two shows were freeFall's One Flew Over the Cuckoo's Nest last summer and their Into the Woods last November; without question, American Stage's IN THE HEIGHTS can easily be added to that prestigious list. It's not just a show, it's an Experience. It breathes; it seethes; it pulsates with life.

American Stage in the Park's IN THE HEIGHTS plays at Demens Landing in St. Petersburg thru May 17th. For tickets and for more information, please call (727) 823-PLAY (7529).

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