NEW YORK (Hollywood Reporter) - There were more than a fewdoubts raised upon the announcement that the Latino-flavoredmusical &quo
t;In the Heights" would be moving to Broadway, but theyare immediately erased upon viewing its new incarnation at theRichard Rodgers Theatre.
The latest in a wave of musicals seeking to attractyounger, more aware and more ethnically diverse audiences tothe Great White Way, the show is a joyfully exuberant andmoving experience that should have no trouble thriving onceword-of-mouth kicks in.
Conceived by 28-year-old Lin-Manuel Miranda, who also wrotethe score and plays one of the leading roles, the show has anunlikely setting: a Washington Heights neighborhood featuringsuch establishments as a bodega, a unisex hair salon and a carservice operation. Depicting the lives and loves of a varietyof Latino characters over a long, hot Fourth of July weekend,it bursts with a vitality that only seems more pronounced inits larger home.
The scene is set with the titular number, a rap ode to theneighborhood delivered by the bodega owner, Usnavi (Miranda).We are then quickly introduced to the disparate cast ofcharacters, including Nina (Mandy Gonzalez), a 19-year-old whohas just returned from her first year at Stanford; theneighborhood patriarch, Abuela Claudia (Olga Merediz); Nina'sloving if overprotective parents (Carlos Gomez, PriscillaLopez); the gossipy salon owner, Daniela (Andrea Burns), andher financially strapped employee Vanessa (Karen Olivo); andBenny (Christopher Jackson), the car dispatcher who takes ashine to Nina.
Even the minor characters are given their due in theproceedings, such as the Piragua Guy (Eliseo Roman), who singsabout providing the sweltering neighborhood with its icytreats, and Graffiti Pete (Seth Stewart), whose artwork provesunexpectedly moving in the show's final moments.
Quiara Alegria Hudes' entertaining book -- revolving aroundsuch plot elements as Nina's parents having to sell theirbusiness after she loses her college scholarship, or a winninglottery ticket that might provide the solution to several ofthe neighborhood inhabitants' problems -- has its formulaicaspects. But the generally amusing dialogue and engaginglydrawn characters go a long way towards overcoming its cliches,and Thomas Kail's consistently clever staging smoothes over allthe rough spots.
Miranda's excellent musical score, incorporating hip-hop(he proves to be a smooth-flowing rapper as well) and Latinelements, is consistently tuneful and fun, and AndyBlankenbuehler's sexy choreography adds to its impact. Theundeniable highlight is the Act 1 finale, set in a dance clubin which the ensemble gets to show off their sizzling movesonly to be hilariously interrupted by a mock blackout.
The largely intact ensemble, composed of seasoned pros andtalented newcomers, has only gotten better since last year'soff-Broadway run, and Anna Louizos' striking neighborhood setdesign, dominated by a looming George Washington Bridge, wellfills the expansive stage.
Cast:
Usnavi: Lin-Manuel Miranda
Daniela: Andrea Burns
Carla: Janet Dacal
Sonny: Robin de Jesus
Kevin: Carlos Gomez
Nina: Mandy Gonzalez
Benny: Christopher Jackson
Camila: Priscilla Lopez
Abuela Claudia: Olga Merediz
Vanessa: Karen Olivo
Graffiti Pete: Seth Stewart
Original concept/music-lyrics: Lin-Manuel Miranda; Book:Quiara Alegria Hudes; Director: Thomas Kail; Set designer: AnnaLouizos; Costume designer: Paul Tazewell; Choreographer: AndyBlankenbuehler; Lighting designer: Howell Binkley; Sounddesigner: Acme Sound Partners.
Reuters/Hollywood Reporter
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