‘In The Heights’: A finely-tuned, electric experience
Image: Janet Dacal with company in IN THE HEIGHTS at Drama Theatre, Sydney Opera House. Credit: Daniel Boud
This is a kind of Goldilocks staging of the immensely popular Lin-Manuel Miranda musical, In The Heights. Its 2018 premier in Sydney was at the cosy 111 seat Hayes Theatre. It then went on to a more grand and ambitious production in the Concert Hall of the Sydney Opera House, with a capacity of over 2600. It is now enjoying a season in the 544-seat Drama Theatre of the Sydney Opera House, and this one feels just right.
The musical is set in a barrio, a small Latino neighbourhood in Washington Heights, in present day New York City. It’s a ghetto whose residents are made up of immigrants and poor people, struggling but proud. The disparate neighbours comprise a demographic cross-section, yet they consider themselves one big joyous family.
Though this doesn’t represent Miranda’s own upbringing, he drew on various personal experiences and observations which help give the story its authenticity. What makes In The Heights even more visceral is the music, which combines genres endemic to that kind of melting pot neighbourhood: hip-hop, salsa, merengue, carnival.
The music drives the plot and is frenetic. Most of the action takes place in a kind of mini town square surrounded by a hair salon, bodega, taxi depot and the front door of an apartment.
Several storylines run parallel and the near continuous songs often advance two or more plot lines at once. This can actually lead to confusion and fatigue at times, especially since there are no real slow tunes or spaces to take a breath. But mostly, it’s energetic and exciting.
The performances in this Luke Joslin directed production are all stellar. Ryan Gonzalez is self-assured in the central character of Usnavi, a role originally played by and probably based on Lin-Manuel Miranda himself. Olivia Vásquez reprises, yet again, the role of Vanessa, which she played repeatedly since the premier production at the Hayes Theatre. And she owns it.
Olivia Dacal makes her theatrical debut as Nina whom she plays with controlled vulnerability. Barry Conrad is the likeable misfit, Benny, and he has loads of personality on stage.
Alexander Palacio and Angela Rosero are perfectly cast as Kevin and Camilla Rosario respectively. Each balances their complex relationship with each other, their daughter and their life’s work with nuance and inner wisdom.
Janet Dacal (Olivia Dacal’s real life aunt) very nearly steals the show as hair salon owner, Daniela. She gets some of the biggest laughs and warmest applause. Her employee, Carla, is played by Tamara Foglia Castañeda, and she is also good for a few laughs.
Lena Cruz is endearing as the elderly matriarch-figure, Abuela Claudia. Her show-stopping solo number brought moisture to many an eye.
Steve Costi’s Sonny is boisterous and loveable, while Jervis Livelo manages to leave an impression with the relatively minor role of Graffiti Pete.
Richard Valdez also makes an impact; though he is not on stage all that much playing Piragua Guy, he creates a character that could easily spin off and have his own show.
The choreography by Amy Campbell is stunning, with a mash of athletic hip-hop and graceful salsa.
In The Heights is an electric show that requires a bit of stamina to engage with, but what you give you’ll get back ten-fold.
Until August 25
Drama Theatre, Sydney Opera House
www.sydneyoperahouse.com
Also, see our interview with Olivia Vásquez, Olivia Dacal and Barry Conrad
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