With music and lyrics by Lin-Manuel Miranda and book by Quiara Alegría Hudes, In The Heights is directed by James Vásquez, choreographed by Julio Agustín, and music directed by Noah Landis.
Set in NYC’s Washington Heights, where its neighborhoods are declining, three generational residents keep their hopes and dreams, sharing their stories with the audience. Though the musical contains multiple stories of Latinx immigrants, the “themes” are universal and allegorical, in resonance with those of Romeo and Juliet, The Wizard of Oz, and the return of the “hero” stories. Even we encounter Chekhovian characters who must decide their futures as their surroundings change. Due to the proximity between their residences (apartments) and their workplaces–the characters are all running their own businesses below their apartments. The community is tight, caring about each other’s families and friends.
The landscape created by scenic designer Diggle is the UN of Mesoamerica. Diggles shows a row of storefronts (two are already closed, and one is on its way) with graffiti-smeared shatters.
The action takes place—just like Ancient Greek plays—in front of the buildings—the façade of stores with their upstairs apartments. The background is the Washington Bridge. The scaffolds might suggest the upper levels of the building. Though the scenery is visually stunning, many spaces are not used—the scaffolds are rarely used, and the actions inside the stores—installed upstage—are not incorporated into the plot.
The orchestra led by music director Noah Landis accentuates Miranda’s challenging but playful Afro-Cuban rhythms and tunes infused with rap as a vehicle for the “narrator” Usnavi.
Lighting Designer María Cristina Fusté controls colors and intensity levels to create additional spaces, including Usnavi’s apartment and a July 4th mingling place.
Lex Liang’s costumes—urban wear in the 2000s—are highlighted by the primary colors used for flags of different countries in Central and South America. Lian also differentiates different generations by dressing Abuela Claudia in a 60s MuuMuu dress with a simple shirt and Daniella, a middle-aged hair salon owner and single mother, in an 80s dress in the fourth-of-July nightclub scene.
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni 
Cleveland Play House In the Heights Music and Lyrics by Lin-Manuel Miranda Book by Quiera Algeria Hades Directed by James Vasquez Photo by Roger Mastroianni
Julio Augustín’s choreography illuminates Latin and hip-hop styles throughout the show, including transitions assisted by the production’s talented swings—Aamar-Malik Culbreth, Amy Romero, and some ensemble members.
A group of actors fully exhibit their talents and personalities through the interpretation and expression of their characters. Kevin Rosario (Rudy Martinez), who has broken away from his father, a farmer, back in Puerto Rico to emigrate to the United States, repeats his father’s mistake (clinging to the old way). He exhibits racial prejudice, including colorism, which ironically became the center of criticism of the film version of In the Heights with an absence of Black Latinx actors, except for one.
What makes the musical “21st century” is the strength of Camila Rosario (Michelle Aravena), who challenges her husband and daughter in a way that reflects their decisions, errors, and consequences. Aravena’s presence is compelling, serving as a pillar of her generation of the residents in the musical.
Addie Morales, as Nina, exhibits a young woman with knowledge and experiences of living inside and outside the neighborhood.
Kalyn West, who played Vanessa, demonstrates her strength as a singer and dancer, captivating the audience in solo and ensemble scenes.
Joseph Morales’s Usnavi is a likable narrator who connects different characters and stories through his rap. His voice almost mirrors Lin-Manuel Miranda’s, as if to bring this original creator back to the stage.
Ariella Kvashny as Abuela Claudia, who covers Trinidad Snider for a performance I attended on May 18, 2024, shows her superb acting, making the character of Claudia—who represents the oldest surviving generation in the neighborhood—believable. Kevin Solis, as Piraguero—a Piragua vendor—adds volumes to the show with his powerful voice.
Other energetic performers who contributed to this production (for the performance I attended) are Edgar Cavazos, Aamar-Malik Culbreth, Courtland Davis, Shadia Fairuz, Valeria Flores, Alyssa V. Gomez, Reyna Guerra, Kirstin Angelina Henry, Luis Herrera, Chibueze Ihuoma, Liliana Rodriguez*, Amy Romero, Gabriel Subervi, and Arik Vega.
James Vásquez’s transitions could be a bit faster and smoother, considering the tight time frame (three days) packed with so many incidents, events, and changes.
In The Heights opened on Broadway on March 8, 2008, over 16 years ago. Since then, political and social scenes changed dramatically, including strict and brutal policies on immigration. The 2024 audience may have the ultimate question of whether “Usnavi’s choice to stay and maintain his bodega is sustained—and if so, how much longer?”
So, what the audience might perceive from a production of In The Heights in 2024 differs from that of the original production, which won the team many Tony Awards. I attended the Broadway production, and I remember that I left the theatre with so much hopes and dreams.
This time, I could not “celebrate” with the cast and other audience members during the finale when Usnsnavi celebrates his decision to maintain his bodega with a new graffiti on the shutter with “pacienciea y fe” (patience and faith)—to commemorate the song sung by the neighborhood’s grandmother figure.
My hesitancy to become a simple participant in the celebration, of course, comes from a number of new anti-immigrant and border policies, legislatures, and public sentiments: the reversals made on the DREAM (Development, Relief, and Education for Alien Minors) Act and DACA (Deferred Action for Childhood Arrivals), zero-tolerance policies on border-crossing, to name a few. Continuing urban development and gentrification in New York City and its neighborhoods also have changed how one views this musical.
Photographer: Roger Mastroianni:
Music and Lyrics by Lin-Manuel Miranda / Book by Quiara Alegría Hudes
Presented by Cleveland Play House
May 11 – June 9, 2024
Allen Theatre
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