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| Scene from In the Heights |
There are certain assumptions that come with musicals. Even after decades of reinvention, there's certain quirks that many associate with the often bombastic style of theater. There's no thought put into the idea that musicals could be universal and appeal to people from communities outside of New York with themes relevant to different social classes and music tastes. With Musical Theater West's production of In the Heights, they explore a Tony-winning musical that not only updates the classics to modern sensibilities, but creates a whole new language around it. Yes, there are inevitable comparisons to be made to classics of yesteryear like West Side Story, Fiddle on the Roof, and even Rent. However, In the Heights works more as a fusion of what came before, and what lays ahead for musical theater. It's a thrilling performance that shows how cultures can improve each other, whether they be Black, Puerto Rican, or Latino. It's a place where hip-hop, salsa, and ballads live next door to each other, and the radio's always singing sweet, sweet melodies.
The show opens with the titular song "In the Heights," which is the familiar whirlwind of exposition that introduces the dozen characters, lead by corner store employee Usnavi (Perry Young). These characters roam the streets as the opening hip-hop beats open, introducing a whimsical conversation that infuses Spanglish along with salsa, building to a Broadway-style chorus. Over the seven minutes, it becomes a dizzying journey through this small landscape. For audiences unused to the rap-style of exposition, it may be difficult to pick up on every detail. Even then, miraculously, the composition blends various genres so effectively that it becomes its own new identity. It's a triumphant celebration of culture and community, both of which are the central themes of the story that follows. Within one song, the show creates an appetizing world for the audience, and one that many wouldn't likely have visited otherwise.
Much like composer Lin-Manuel Miranda's more widely recognized follow-up Hamilton!, the show is nothing short of audacious. There's certain trademarks already on display, such as his love of incorporating humor and references with winking affection into the music. The way that his music builds is also an impressive feat, given that few composers have made the varying genres and tempos blend together half as infectiously. Miranda's debut show has a lot going for it, including a belief that theater should be for everyone. While there have been shows centered around different cultures, In the Heights feels exciting because it manages to have them coexist by telling a classical story in a contemporary fashion. He also creates characters that are sympathetic on a human level, allowing each performer to sing a song in a style akin to their personality. For instance, Usnavi is driven by rap while the Rosario family is more centered around more traditional ballads. In lesser hands, the expansive pallet would be exhausting. For someone like Miranda, it only helps to emphasize his themes with power.
The show makes the most of its limited sets by creating an intimacy among the works of the four main locations: Kevin Rosario's (Mario Rocha) car service, Abuela's (Candida Celaya) house, Usnavi's corner store, and a hair salon where three comic follies sing salsa songs while gossiping. Each world gets their own rich plot that interweaves ingeniously as the second act develops. Still, it's a world full of life that manages to reflect how one day can bring so much joy and pain. The story manages to develop a socio-economic theme in its second half as the struggle to keep the neighborhood in perfect condition becomes an issue. There's a pride to being from Washington Heights, and the audience will feel the same way as they tap along to the catchy rhythms and the inspiring scope of the music. The only real conflict of live theater is that more complex harmonies may be lost to audiences, as different tempos overwhelm others. With that said, the experience is enjoyable and creates an exuberant afternoon of theater.
In the Heights' greatest achievement is making classical theater feel exciting to younger audiences not interested in Sondheim or Lerner & Lowe. Even with elements of classical theater in its DNA, the show is inherently a 21st century tale, and one so indebted to its culture that it creates a new sense of authenticity. Despite telling a story that spans many genres, moods, and atmospheres, it's one that uses its excess to full advantage with great character moments and excellent performances from the cast. It helps that the soundtrack is also catchy and accessible, proving that it isn't how one sings but what they sing about. Hamilton! may be what Miranda deservedly is remembered for, but Musical Theater West has proven that In the Heights has the power to be just as great even in someone else's hands. It's the type of musical that's so subversive in approach that it feels brand new. Only time will tell if more adapt its clever and engaging approach to other worthwhile stories that haven't been told before.
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