FRIDAY, FEBRUARY 13, 2009
ARTS & CULTURE
Broadway Critic - In the Heights -
By Tim Croner Staff Reporter Most people think of showy spectacles and flashy costumes when they think of Broadway. The notions that arise with the label “Broadway musical” are currently being challenged eight nights a week at the Richard Rodgers Theatre, in Broadway’s newest hit “In the Heights.” “In the Heights” premiered off-Broadway in 2007, and moved to Broadway in Feb. 2008. The show, which earned four 2008 Tony Awards, including Best New Musical, follows the events of a neighborhood in Washington Heights during the Fourth of July. The story is simple enough, and, despite the fact that it is set in a relatively unknown neighborhood, the show is surprisingly accessible. Many of the characters
tounding potential. Lin-Manuel Miranda stars as Usnavi, a narrator of sorts, who tells the story of his fellow neighbors while simultaneously trying to find his way in the world. Miranda’s connection with the story is apparent, as he delivers every scene with high energy. Mandy Gonzalez plays Nina, and her strong vocals made her two songs, “Breathe” and “Everything I Know” the best in the show. Olga Merediz was a standout as Abuela Claudia, who constantly reminds the neighborhood to have “paciencia y fe” (“patience and faith”), and Robin de Jesús provided some excellent comic relief as Usanvi’s cousin Sonny. Andy Blankenbuehler’s stimulating choreography fit in with the show’s contemporary score as well as its urban setting, and it was one of the few shows on Broadway where the choreogra-
“In the Heights” has a sound more similar to something you would find on the radio: pulse with hip-hop and salsa beats. in “In the Heights,” like Usnavi, the bodega owner, or Vanessa, the salon employee, yearn to go on to something bigger, to a place they can finally call home. The Rosarios, Kevin and Camilla, bring an exciting family dynamic to the show, as they struggle to make ends meet and put their only daughter, Nina, through college. At the same time, Nina is forced to face her own broken dreams when her financial situation forces her to drop out of school. The true feat of “In the Heights” is its electric score, written by the show’s creator and star, Lin-Manuel Miranda. The songs, which feature a sound more similar to something you would find on the radio rather than in a Broadway theatre pulse with hip-hop and salsa beats. But one shouldn’t be fooled by the unique sound of the music; every song, with Spanish lyrics woven in, allows the characters to express their woes about the unbearable heat, their feelings about the familiar neighborhood and their dreams about finally finding a place to call home. The cast propels the show above and beyond its already as-
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THE SPOKE
phy actually contributed to the telling of the story. The set was realistic; it honestly felt like a slice of neighborhood life in northern Manhattan. The lighting was impressive, heightening the mood and impact of the show. The colors used in the lighting illustrated the effects of the summer sun, and the blackout and fireworks during the finale of the first act were outstanding. “In the Heights” is a definite departure from the typical Broadway musical, but it is also a welcome one. The score is fresh and contemporary; the acting is raw and inspired. And at its core, “In the Heights” is a story about home. It’s a story about finding out who you are and where you belong. It’s a story that everyone can relate to, a story that everyone needs to hear. While it may break away the expectations set for a musical, it is also a reassuring glimpse into the future of Broadway, a future where many will continue to be entertained, enlightened and inspired by the art of storytelling through song and dance. Tim Croner can be reached at tcroner@stoga.news.com.
Broadway.com
Lin-Manuel Miranda and the company star in “In the Heights.” The musical features a contemporary score mixed with Spanish culture and portrays an accurate depiction of a Manhattan neighborhood.