Not even Mr. Rogers Neighborhood is so cheery as the colorful, multilingual quarters found in "In the Heights," the Latin hip-hop musical valentine to the Washington Heights crowd outside the 191st Street subway stop and George Washington Bridge.
Exactly one year ago, the show premiered Off-Broadway at 37 Arts, a dreary graveyard of a stage on Tenth Avenue. Though it looked impressive with a cast of over two-dozen actors, it was sloppy and badly in need of tightening. In May, it was announced that the show would fold Off-Broadway, regroup, revise and then move ten blocks and open on Broadway.
"In the Heights" is like a modern "Fiddler on the Roof." It's a show about the traditions and citizens making up New York City's Latin-American subculture. Whereas the Cossacks forced the villagers out of Anatevka in "Fiddler," the Latino immigrants of "In the Heights" are being forced out of their homes due to rising rent costs. "In the Heights" was created to celebrate a world on the verge of extinction. That's why it's such a joy to behold and a must-see musical.
The plot remains hokey. We meet a dozen local Latinos one by one on a hot Fourth of July weekend: he owns the bodega, she works at the nail salon, they own the gypsy cab company, and so on. With so many subplots running around, some superficiality is inevitable. But in spite of the corniness, "In the Heights" has heart—miles and miles of heart. Hell, its amazing and athletic hip-hop choreography alone is more than worth the price of admission.
Regardless of whether "In the Heights" is a box office success, it will stand out in Broadway history as the fairy tale success story of Lin-Manuel Miranda, who wrote its flavorful Latin-pop score in college and stars as its central narrator. We remain grateful to him for bringing his exuberant community to the now slightly more vibrant midtown neighborhood.
'In the Heights' plays at the Richard Rodgers Theatre (226 W. 46th St., 212-307-4100), tickets $21.50-111.50.
Photo: Ari Mintz/Newsday
