At this moment in 2018, it's hard to see Lin Manuel Miranda as anything but big. Considering that he has one of the most successful shows in Broadway history (Hamilton) still running and a major role in the Disney film Mary Poppins Returns, he has become ubiquitous with crowd pleaser. Which brings up an interesting counterpoint: what would it be like to experience Miranda's work in a small environment? Would the power of ensemble singing and grandiose performances still work? Thanks to the ambitious people at Mysterium, they have brought forth an adaptation of Miranda's breakout musical, In the Heights, that proves what makes the music and lyricist' work so memorable. It isn't just music that can be performed on Broadway by professionals. It can be done by anyone willing to give their all to enthusiastic performances. Thankfully, that was all on display in this production about one community in Washington Heights dealing with a rather hot summer.
With great enthusiasm, Mysterium founder Marla Ladd introduced the production at The La Habra Depot Playhouse by getting the crowd invested. With limited seating, she even managed to turn both sides of aisle into competitions for louder applause as she ran through Mysterium's upcoming events (which will come after some remodeling and purchasing of new microphones for the actors). Before the show even started, Ladd had an ability to get the crowd enthused not only for the sold out performance, but to return for Mysterium's future shows, including When Christmas Comes to Town (Dec. 13-16) and Seussical the Musical (Jan. 11-Feb. 3). With an upbeat staff enthusiastic about the arts, the show began as most shows do: with the lights going down and the "orchestra" playing on the show's protagonist, Dominican Republic immigrant Usnavi (Robert Ramirez), as he detail life in Washington Heights as he runs a liquor store.
The stage is small, leaving no room for actors to enter the traditional stage left or right. In its place are stage directions that jolt the audience directly into the production, specifically as actors enter and exit down the aisle consistently throughout the show. For those unaware of the energy to come in the show, the opening number will prove to be an overwhelming mix of surprises as actors appear from behind with loud boisterous singing and wistful dancing. Still, it's part of the magic of Miranda's work - which is that in spite of feeling like it needs large production values to be appreciated, all it takes are actors who enjoy the craft. A quarter of the time the ensemble actors weren't even dancing on stage, as it couldn't fit them all. Even then, it created something that a grand theater couldn't. It created an intimacy that in some ways enhanced the show.
At the core of the story is a melting pot of culture, which consistently shows in the dialogue. Very little of the scenes happen without some embrace of cultural differences, including discussion of how Spanish and English languages are different based on where you are. The words may be the same, but the subtext differs greatly. Even the catchy music blends traditional Broadway styles with salsa and hip-hop to create this fusion of identity even as it becomes further and further intimate about these characters' struggle. Usnavi wants a better life. The middle-class Rosario family runs a dispatch center while trying to send their daughter Nina (Thalia Atallah) to college in California. There's constant concern over whether the community can survive, especially in a summer where the power goes out and the bills are stacking up faster than normal.
For as grand as the music gets, most notably in the Act I closer "The Club/Fireworks," the story's biggest gift is grounded emotion of characters. Even those who are first seen as farcical, such as Usnavi's brother Sonny (Alejandro Lechuga), are later given depth as their purpose becomes clear. This could all be attributed to the feeling of a small theater and the sense of familiarity that forms throughout the show. These characters are so close, often running up and down the aisles, that the audience feels a part of their community. After all, the show is multicultural, giving voice to immigrants as well as those Americans who work alongside them. The show manages to make the struggles as much about identity as it is something more universal. Everyone has good and bad days, but those who are willing to look beyond their struggles will find a community there to help them out.
It does help that the music has some impeccable charm to it as well. Ramirez mostly nails the difficult task of rapping the various songs while appearing natural. He's able to be comical as well, often appearing in the background like most mid-20's men with some level of insecurity towards asking girls out, dancing in ways that are awkward but joyful. The stage directions may appear chaotic, but they always feel purposeful to the plot, managing to take the massive ensemble and place them so that the main action of the choreography is always seen. If nothing else, this proves that a reported cast of 22 actors can work in any environment, so long as they have a watchful eye guiding them through numbers like "Carnival del Bario," which requires a mix of ensemble dancing as well as solo numbers that include waving various flags representative of the immigrant community. It's so infused at this point that it's beautiful how the show emphasizes individuals not often given leads in musicals, and how it transcends any taboo and goes for the human condition.
While the cult of Miranda is fairly new, productions of In the Heights (and maybe one day Hamilton) will appear before audiences like this. In fact, the Mysterium's production exemplifies why these shows are bound for significant legacies. It's a contemporary musical, embracing something keen to 21st century American ideals in ways that the classics like West Side Story or South Pacific cannot. This is music that appeals to a new audience, one who loves Broadway show tunes and Top 40 music equally. This is a world that will likely become more apparent in the decades to come when those influenced by Miranda get their shot at Tony Awards. For now, it's exciting to know that In the Heights is a show that can feel big even on small stages, where the songs fill the room and the drama feels intimate and real.
For those wanting to understand the magic of theater in a more modern, culturally diverse sense, this is a pretty good place to start. There's currently two more weeks of the show playing at Mysterium, so try and get there while you can. Though be warned, it's best to buy early because it might (like all Miranda musicals these days) sell out. For more information, please visit their website here: https://mysteriumtheater.com/get-tickets
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