Review: IN THE HEIGHTS Goes Center Stage at Kennedy Center

With the juggernaut that is Hamilton playing DC this summer, it was probably a good marketing strategy for the Kennedy Center to use its new Broadway Center Stage series to (re)-introduce local audiences to Lin-Manuel Miranda's first Broadway musical, the Tony Award-winning In the Heights. Avid local theatergoers have likely seen the show before and fairly recently at that. Last season, Olney Theater Center and Round House Theatre co-produced a well-received production and GALA Hispanic Theatre presented the U.S. Spanish language premiere. However, the five-night, sold out run at Kennedy Center offers another look at the show - this time with an Encores-like staging featuring some of Broadway's best talent directed by original cast member Stephanie Klemons.

Like with Hamilton, Miranda's trendy yet timeless score expertly fuses together various musical styles. There are elements of rap and pop-rock (of the up-beat and ballad varieties). There are also plenty of traditional and contemporary Latin influences - appropriately so because the musical, featuring a book by Quiara Alegría Hughes, concerns a primarily Hispanic neighborhood in Washington Heights, depicted here with Anna Louizos minimalist scenic design. The strength of the music is abundantly evident in this production. Zachary Dietz's orchestra plays the music with the high energy and technical skill it deserves. While I appreciated being able to hear the music in all of its glory, the same sound mix issues plague this production as Chess (the inaugural Broadway Center Stage production more than a month ago). There were far too many moments when I could barely hear the performers over the (amplified) orchestra, particularly the horn section. This is inexcusable and something that needs to be immediately addressed if this series is going to have a continued life worthy of the high ticket prices.

This is not to detract from the tremendous triple threat cast of performers. Anthony Ramos gives a sincere and lovable performance as Usnavi and Mateo Ferro brings in the laughs as Sonny. Apart from Rick Negron as Kevin Rosario though, the ladies collectively far outshined the men when it came to vocals. Negron's heartfelt rendition of "Inútil (Useless)" was among the best I've heard, including on Broadway.

It was Eden Espinosa (Daniela), Vanessa Hudgens (Vanessa), and Ana Villafañe (Nina), however, who brought the house down. I've had the pleasure of seeing all three ladies in a leading musical role previously so this came as no surprise, but the polished performances they gave far exceeded what one might typically expect from a semi-staged production with a short rehearsal time. "Carnaval del Barrio" is a highlight is nearly every production, but Ms. Espinosa - who also proved to be quite adept at comedy - took it to another level. Hudgens started strong with a sweet rendition of "It Won't Be Long Now" and maintained the same vocal quality throughout. Villafañe achieved the perfect mix of emotional connection and technical skill on every number, but it was her performance of "Everything I Know" that really stood with me. Her natural chemistry with a charming J. Quinton Johnson as Benny also made the act two opener, "Sunrise," one of the most memorable moments.

Other standout performances included Saundra Santiago as Abuela Claudia, Blanca Camacho as Camila Rosario, and Eliseo Roman as the much loved Piragua Guy. Santiago's passionate rendition of "Paciencia Y Fe (Patience and Faith) transports you to Cuba with some help from Zachary Borovay's projections. Her performance, overall, packs an emotional wallop. Camacho captures Camila Rosario's strong personality and makes the most of her solo number, "Enough." Roman continues the trend of the actor portraying the Piragua Guy receiving much love from the audience and for good reason. His rendition of "Piragua" features strong vocals and a lot of pizazz.

Speaking of pizazz, the energetic ensemble and principal performers execute Stephanie Klemons' choreography with precision and passion. The dance element contributes greatly to the success of the production.

As a self-professed musical theater nerd, I would prefer the Broadway Center Stage series present less performed or even forgotten musicals (a la Encores at New York's City Center), but I will always support bringing the best of musical theater to the Kennedy Center. Featuring many top-notch musicians and performers, this production does do just that - it's just too bad we can't hear all of it.

Running Time: 2 hours and 20 minutes with no intermission.

IN THE HEIGHTS plays the Kennedy Center - 2700 F Street, NW in Washington, DC - through March 25, 2018. The run is sold out.

To post a comment, you must register and login.