In the Heights is a richly-textured soundscape and dancescape of immigrant life in New York’s Washington Heights in the early years of this century. From the broad strokes of redevelopment pressures to the fine details of transit (“There’s no 9 train now”), the rendering is vivid and precise. Miranda and Hudes skillfully advance character and plot within a big set piece like “The Club”/”Blackout” in short, economical phrases.
The text is brought to marvelous life by director/choreographer Marcos Santana. For the most part, the downstage thrust area is kept open; Milagros Ponce de León’s set pieces can be pulled on wagons to bring us into the interior of Usnavi’s bodega, or Daniela’s hair salon, or Kevin and Camila’s car service office.
Although the young people’s hopes and dreams drive most of the story, I was particularly smitten by Danny Bolero’s “Inútil,” a song of mature longing in which he sings of the frustrations of being his father’s son and of not being able to do well enough for his family. And the Piragua Guy’s (Tobias A. Young) interludes are a pleasant mood-relaxer.
The offstage band sounded somewhat disembodied, and at Sunday’s show, some of the mic cues could have been executed later rather than sooner.
- In the Heights, music and lyrics by Lin-Manuel Miranda, book by Quiara Alegría Hudes, directed by Marcos Santana, Olney Theatre Center and Round House Theatre, Olney, Md.