CRITIC’S PICK
Sun up on a hot, early July morning. Usnavi (Ryan Alvarado) opens his bodega, a stop-and-shop that deals mostly in café con leche, fueling the energy of the struggling but generally happy residents of Washington Heights, a Hispanic community at the northern tip of Manhattan. Yes, it’s the opening scene of In the Heights, the frenetic, energetic first work by Lin-Manuel Miranda
He’s the guy behind the megahit Hamilton, due for a largely sold-out tour stop next month at Cincinnati’s Aronoff Center. Back in 2007-2008, Miranda burst forth as Usnavi in In the Heights, his first Broadway musical — which garnered four Tony Awards for its star and creator. In a piece of savvy scheduling, the Playhouse is presenting this show to address the bottomless appetite for Miranda’s work. (Every Tuesday during the show’s run a minimum of 100 tickets will be available for $10, which can be purchased in-person at the box office the day of the performance, starting at 6 p.m.)
In the Heights is a joyous tribute to Miranda’s roots, both the Manhattan borough where he grew up (and still lives) and the original homes of its residents: the Dominican Republic, Cuba and Puerto Rico. It might be criticized for being overly sentimental and a tad cleansed of the serious issues of urban blight, but who cares? It’s his fond recreation of community, imbued with non-stop motion and caring that is expressed physically and verbally, in a constant stream of Rap, Hip-Hop and Salsa rhythms.
Next door to Usnavi’s bodega is Rosario’s gypsy taxi stand, equipped with a dispatch system that doubles as the local broadcast network for residents. Kevin (Tony Chiroldes) and Camila (Karmine Alers) built it from scratch, and they’ve scrimped and saved to fund their smart, activist daughter Nina (Sophia Macías) a Stanford education. One of the drivers, Benny (David Kaverman), aspires for his own business and for a relationship with Nina, much to Kevin’s consternation.
The neighborhood also features a hair salon run by pragmatic Daniela (Lillian Castillo), which is being squeezed out by increasing rent. She employs silly Carla (Alyssa V. Gomez) and sassy Vanessa (Stephanie Gomérez), who makes Usnavi melt whenever she’s nearby. Sonny (Nicolas Garza), Usnavi’s 17-year-old cousin who fancies himself quite the suave ladies’ man, futilely coaches the lovelorn shop owner to be more romantic.
The neighborhood’s real anchor is Abuela Claudia (Yassmin Alers). She’s Usnavi’s spiritual grandma, who is respected by everyone and so hopeful for a brighter future that she buys a lotto ticket daily to fund a dreamed-for return to her home in Cuba.
These characters — half of the 20-person cast — constitute a stew of bubbling activity, trying hard to live up to the American Dream. The other performers are steadily onstage, crossing an intersection with a walk/don’t-walk signal and graffiti (not as much as you might expect). They’re always in motion, including a sweet-tempered piragua guy (Henry Gainza), who sells shaved ices from a pushcart. Dance powers this show, with several ensemble members always onstage, punctuating the production with non-stop, fevered motion; the tunes are played by the seven-musician band on a platform above the action, led by Dan Kazemi.
The show’s magnificent, seven-minute, opening number “In the Heights,” shows Usnavi setting the stage and introducing the players. We see seeds of difficulty as Nina returns home from California, frightened to reveal that she’s dropped out of Stanford (“Breathe”). We learn that Daniela is closing her shop and moving to a more affordable space in the Bronx. It’s also evident that Claudia’s health is not good. It’s early July, hotter than hell, and everyone is on edge.
Things explode at the end of the first act with a blackout and a riot that loots Usnavi’s bodega. The second act begins a downward spiral that encompasses love, joy and death. But everything resolves happily — hey, this is a musical, after all. The second-act centerpiece, “Carnaval Del Barrio,” is a volcanic eruption of high spirits and affection for the Heights. The beat goes on, as does life. Indeed, there is so much heart in the portrayal of this vibrant community that you ultimately aren’t likely to care if the outcome is a tad predictable. The opening night audience at the Playhouse rose virtually as one in a genuinely appreciative ovation, one much deserved by this high-powered, hard-working cast.
In The Heights, presented by the Cincinnati Playhouse in the Park, continues through Feb. 17. More info/tickets: cincyplay.com.
This article appears in Jan 23-30, 2019.
