Fantastic 'Heights'

Halfway through the first act of the explosive new musical, In the Heights, one of the characters reminisces that she “used to think [she] was on top of the world, when the world was a subway map.”  Washington Heights is the neighborhood she refers to, and even though the theater is in midtown the audience is transported towards the upper tip of Manhattan for two and a half hours. In the Heights is one of the most original new musicals to hit Broadway in years; the cast and creators deserve to be on top of the world. 

It doesn’t take half an act to realize the charm of this love letter to the struggles Manhattan’s under-heard Latino population; in fact it doesn’t take half a minute.  A graffiti artist comes center stage as the lights go down and the energy doesn’t stop for the entire evening.  He lets out a shot of aerosol mist before breaking through it with choreography that looks more reminiscent of subway break dancing than typical Broadway pizzazz. 

That’s not to say that the Broadway sensibilities are absent from the show.  One of the most accomplished aspects of the production is the merger of different musical styles.  When leading actor (and composer) Linn Manuel-Miranda takes center stage, rapping about the struggles of workers making their living driving cars, or selling coffee, it seems as at home on Broadway stage as it would be on MTV.   He plows through verses, hands scratching invisible turntables, as a hybrid Broadway/hip-hop beat eggs him on.  It isn’t long until a third musical style comes in: Latin.  Syncopation pulses through the theater and smiles begin to spread across the faces of the diverse audience.  That is all within the five-minute opening number. 

What follows is not perfect by any means.  The show attempts to be the latest Rent in the way it weaves stories of people from a particular NYC neighborhood.  But where Rent had La Boheme as a solid guide for character development and plot arcs, In the Heights falls short.  There are so many lead characters that the material fails to devote enough time to any one of them for the audience to connect emotionally. At times the show feels more reminiscent of a song-cycle than a typical book musical.    Events are often rushed by placing the story within a 3-day frame.  Instead of getting insight into the individual characters, we get insight into their collective experience in a neighborhood on the brink of change.

It is with the idea of a collective experience that the creators succeed so winningly.  The musical numbers come in rapid succession (sometimes not leaving time for adequate plot development) and have a fresh sound that hasn’t been heard before on Broadway.  As characters make their way through the set, which replicates a corner on 181st street, they give voice to a population that is rarely heard on Broadway.  They tell stories of the hope to escape the neighborhood they call home and jump-start their lives, and fear that the neighborhood isn’t what it used to be.  As the stories overlap, they begin to realize that so much of what they need is right there: family, support, diversity and love.  One needn’t be Latino to connect with the universal themes that make the show such a joy. 

There are many other aspects that add to the joyous activities happening at the Richard Rodgers Theater.  The large cast breezes through number after number that keeps the audience cheering.  Some of the smaller numbers, particularly for the parents of a young girl (played by Priscilla Lopez and Carlos Gomez) seem heavy handed in an effort to add emotional weight to the evening.  The large group numbers allow things really soar. 

Throughout all of this is the constant pleasure of watching Andy Blankenbuehler’s choreography.  He utilizes the cultural crossroads of hip-hop, Latin, and Broadway to create show stopping numbers that are not only visually pleasing, but character driven.  It’s rare these days to see choreography be as integral a part of a Broadway show as it is here.  It’s executed flawlessly by the multi-talented cast. 

In the Heights has the potential to be a massive hit.  Word of mouth is deservedly strong coming from their Off-Broadway run last summer, and if the producers can work the right angles it could be a cross-cultural success.  All I know is that it’s a pleasure spending two and a half hours at the top of the subway map (even if you’re really in the middle). 

Comments

[jolene]

Finally, a good new Broadway show!!

I'm just reeling because I heard that K-Fed is supposed to be up to star in Legally Blonde. I needed a shot of optimism or Broadway is going to go down the tubes.

[jennifer]

My pick for "Best Musical" this year.

I love how Priscilla Lopez was also the cool jazz teacher in "Center Stage". I didn't realize it until I saw "In the Heights" though.

[peter]

This show rocks! I haven't seen the b-way version yet, but I saw it last year at 37 Arts. Yes, the book isn't the best, but the performances are so amazing that you don't care.