New Show Reaches For Such Great Heights

Broadway’s In the Heights will leave you wanting to catch the next 1 train to Washington Heights. The uptown neighborhood is the backdrop of this spirited new musical—and the inspiration for its energetic choreography and vibrant score of salsa, rap, and Latin pop. The show, which opened earlier this month at the Richard Rodgers Theater, follows one tight-knit community as its members grapple with the ups and downs of life. Expressing their grief, frustration, and joy through song and dance, they reveal a vivacity that not even Manhattan’s muggiest summer days can suppress.

The musical opens on a typical block in Washington Heights. The George Washington Bridge looms in the distance, and a subway sign indicates that this is 181st Street, the top of Manhattan Island. A simple corner bodega, a family-owned car service, and a unisex hair salon complete the set, designed by Anna Louizos. As the opening number begins, this unassuming intersection comes to life with the bustle and heat of July in “Nueva York.”

Neighborhood golden girl Nina (Mandy Gonzalez) returns from an unhappy year at Stanford to find that the local salon—and its lively, gossipy staff—has been forced to relocate to the more affordable Bronx, and the community’s beloved adopted grandmother, Abuela Claudia (Olga Merediz), is getting older and frailer. While Nina’s parents (Priscilla Lopez and Carlos Gomez) struggle financially to send her back to school for a second year, Nina falls for the non-Latino Benny (Christopher Jackson) despite her parents’ disapproval. The family must rethink its values or risk falling apart.

These challenges may seem a bit too easily resolved, but a powerful cast keeps the show from sinking into melodrama. Gonzalez capably navigates through her character’s confused emotions, and she and Jackson share a palpable and believable chemistry. Lopez and Gomez offer stunning performances, as they argue spiritedly over Nina’s future and reminisce about their own difficult youths. Merediz’s portrayal of Abuela Claudia is spot-on, and her powerhouse vocals take center stage in the heartbreaking number “Paciencia y Fe” (“Patience and Faith”).

At the heart of the show is Lin-Manuel Miranda, the show’s creator, composer, lyricist, and star. In this lovingly composed ode to his home neighborhood, Miranda delivers a performance that is understated yet full of emotional intensity. He raps and dances his way through his role as Usnavi—the owner of the local bodega—with conviction and effortless charisma, handing out coffee and lottery tickets to keep the community’s spirits high. He reprimands his young cousin Sonny (a hysterical Robin De Jesus) one moment and awkwardly courts the leggy Vanessa (Karen Olivo) the next, alternating between the roles with ease, never hesitating before diving into another stanza of fast-paced rap.

Above all, In the Heights is a showcase of Latin dance. Andy Blankenbuehler’s spicy choreography is a whirlwind of organized madness, with each dancer keeping the beat but also dancing to his or her own rhythm. At the end of Act I, when a power outage plunges the neighborhood into darkness and the scene erupts in confusion, this inexhaustible cast makes sure the curtain closes with a bang.

Later, while the blackout drags on, the community is determined to throw a “Carnaval del Barrio” despite the sticky heat. It’s sometimes hard to keep your eyes on the whole cast as they salsa and break-dance across the stage, but the music keeps the choreography grounded. The cast appears to be having such a good time that the slight chaos is easily forgiven.

In the Heights is a youthful and energetic tribute to Manhattan’s diversity. It is the story of a community holding on to its cultural heritage despite all the trials thrown its way. As the infectiously passionate cast dances to Miranda’s catchy score in this admittedly idealized neighborhood, you can’t help believing that anything is possible with a little heart and a whole lot of energy.