Musical theater is one of the only truly American art forms and In the Heights, currently being performed at Seattle Repertory Theatre, is a quintessentially American musical. Lyricist and composer Lin-Manuel Miranda along with book writer Quiara Alegría Hudes have built a world that celebrates the strength and beauty of an urban immigrant community. The stage is practically overflowing with a rich tapestry of interwoven stories of the many facets of the American experience.
In the Heights is a three day snapshot of life in the mostly Hispanic-American neighborhood of Washington Heights in New York City. Usnavi de la Vega, the local bodega owner and our narrator and guide, welcomes us into his world and introduces us to its inhabitants. We first meet Abuela Claudia, Usnavi’s grandmother in spirit and practice if not in lineage. She also serves as the de facto matriarch for the entire neighborhood. First into the bodega are the Rosarios (Kevin and Camila) who own and run a cab company and are over-the-moon proud over their daughter Nina who is back from her first year at Stanford. Then there’s Sonny: cousin, sole employee of the bodega, and general comic relief. We are also introduced to Benny, Usnavi’s friend and confidant (and employee of the Rosario’s cab company) and Vanessa, the object of Usnavi’s yet to be declared affections. Vanessa works at the salon next door with the neighborhood gossips/yentas Daniela and Carla. What follows this whirlwind of establishing relationships are tales of love, loss, and what it means to make a place home.
From the first few measures of music, the show’s tone is clearly established. We can hear the claves playing the distinctive mixed meter beat from West Side Story’s America over which Usnavi begins to rap his introduction. In the Heights always has one foot solidly in the land of traditional musical theater while weaving in and out of many contemporary genres of music.
It would be easy to see this endeavor as insurmountable with the ever-mutating score and so many characters all vying for a space to have their story told. But don’t be fooled – this cast, wrangled by Director May Adrales, is serious business and they make it look effortless. As our intrepid leader Usnavi is Ryan Alvarado. He is sincere and earnest and while some of his more comedic turns come across as slightly self-conscious, when it comes to the pathos and the drama, he holds everyone’s collective heart in his capable hands. As Usnavi’s love interest Vanessa, Stephanie Gomérez walks the very thin line between a facade of false bravado and true vulnerability all while belting out crazy notes and salsa dancing. Filling out the other love story is David Kaverman as Benny and Sophia Macías as Nina. Kaverman is all charm and confidence from beat one accompanied by a smooth baritenor with just the right amount of rasp. Macías is a revelation in what can be a stereotypical and somewhat passive ingenue role. She is grounded and present in every moment and her belt is bright and free and she navigates what is an incredibly vocally challenging role like it’s nothing. They both have oodles of chemistry and their voices soar together.
In a story where young love is one of the main focuses, the adult characters are often used simply as conflict engines and are not given much depth. Miranda and Hudes however, have gifted us with complicated and complete adult characters. Karmine Alers and Tony Chiroldes as Camila and Kevin Rosario show us an established and loving couple each struggling to find the right way to care for their family. Lillian Castillo as Daniela and Alyssa V. Gomez as Carla are delightful every moment they are on stage. Be prepared for Castillo to blow off whatever socks you’ve got when she tears into Carnaval del Barrio. Yassmin Alers as Abuela Claudia has warmth and kindness that makes her seem lit from within. That, however, is not all she brings to the stage. As we find in Paciencia Y Fe, she is not to be underestimated.
Helping to fill out the Washington Heights neighborhood is a world-class ensemble. They execute beautifully the choreography by William Carlos Angulo which switches handily between diegetic movements to making physical the innermost feelings of the characters. The orchestra, under the direction of Dan Kazemi, is seriously rocking. The set designed by Tim Mackabee and costumes designed by David Israel Reynoso are vibrant and dynamic.
In the Heights runs at Seattle Repertory Theatre through December 30, 2018. For tickets and more information, visit https://www.seattlerep.org/Plays/1819/IH/Synopsis. Though the show is sold out, there is a daily lottery at https://www.todaytix.com/x/seattle/shows/9790-in-the-heights#noscroll for $20 tickets.