IN THE HEIGHTS

Theater opinion

Music and Lyrics by Lin-Manuel Miranda
Book by Quiara Alegria Hudes
Conceived by Lin-Manuel Miranda
Directed by Thomas Kail
Choreographed by Andy Blankenbuehler
Music Directed by Alex Lacamoire
With Lin-Manuel Miranda, Andrea Burns, Robin De Jesus, Carlos Gomez, Mindy Gonzalez, Christopher Jackson, Priscilla Lopez, Olga Merediz, Karen Olivo, Seth Stewart

At the Richard Rodgers Theatre, New York City.

First of all, it was truly stunning and inspiring to see a Broadway stage filled with Latino performers, and to hear Latin and Caribbean beats pulsating from the orchestra pit of the Richard Rodgers Theatre. The crowd was the most racially diverse one I had seen since The Color Purple in 2006, and it was heartwarming to hear Spanish on stage and in the audience. In the Heights is a milestone for Latino artists and stories in American theater. Though Latin beats have been a mainstay in musicals since West Side Story in 1957, this is the first one created by Latino artists to find commercial and critical success.

In The Heights defies stereotypes of what a Broadway show looks and sounds like, but it is, in many ways, a rather conventional musical. The story goes exactly where you think it will go. Will the protagonist, Usnavi, leave Washington Heights? (For a hint, note that this show is not titled Out of the Heights.) Its characters follow tried-and-true character arcs, it gives its supporting players plenty of crowd-pleasing moments, and it leaves audience members feeling good about their trip to the barrio … even if most will still avoid actually going there. The assertion that gentrification (e.g. whitification) of neighborhoods is bad has become cliche, though the show glosses over the fact that the predominantly Latino population of Washington Heights is just one incarnation of a constantly evolving neighborhood. (I would like to see a musical about the tensions that arise when Latinos move, as one character in this show does, into predominantly black neighborhoods in the Bronx, neighborhoods that were once predominantly white.) That being said, my primary complaint about the show is the frequency of songs that feature characters stopping the action to sing about what they’re thinking. However, though the story structure lacks originality, it compensates for it with high energy and terrific music that had me grooving in my seat. Though I can be critical in hindsight, I will tell you that I greatly enjoyed the show as I was watching it.

Of course, the heart and soul of In The Heights is its creator, composer, lyricist and star, Lin-Manuel Miranda. He has fantastic charisma and comic timing. To see him take in a standing ovation at curtain call was to see a man still in awe of the fact that his labor of love has been so warmly embraced by the Broadway community. His performance is the anchor of the play. In fact, it is difficult to imagine what watching the show would be like without Mr. Miranda playing the lead. Woe to the understudy who has to face an audience expecting to see the boy genius. In The Heights had been performing to half-full houses before Mr. Miranda accepted the Tony Award for Best Score with a charming rap. The night I saw it, the house was full and everyone was having a great time. It ought to have a good, long run as long as Mr. Miranda stays in the show. Judging by how much fun he was clearly having, he will likely stay with his baby for a long, long time.

GRADE: B