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Regional Reviews: Florida - Southern In the Heights
Set over a three-day period, In The Heights begins with the narrator of story, Usnavi (Peter Fernandez), opening his corner bodega, which he runs with the help of his jokester teenaged cousin Sonny (Keagan Cerny). The store is a staple of the neighborhood, where people stop for their daily coffee and newspaper. The beauty shop next door is run by its sassy owner Daniela (Hadiyyah Smith), the beautiful Vanessa (Shenise Nunez), and the slightly dimwitted Carla (Valentina Diaz). There, the three ladies share stories of their lives and gossip about the neighbors. Across the street Abuela Claudia (Susy Diaz), the loving matriarch of the barrio, remembers the smallest details of the lives of all of those around her. And right next door is the taxi company run by the overprotective Kevin Rosario (Bryan Wohlust) and his strong-willed wife Camila (Roxanne Cappa). Their daughter Nina (Mela Vargas), who is the first in her family to go to college, is on her way home from her freshman year at Stanford. She is not just the first in her family to go to college, but, as she has done it on an academic scholarship, she is seen by all as one of the few who has made it out. She has returned to the heights with a heavy heart, however, as she was so stressed out by the demands of school and holding down a job, that she has secretly dropped out of school and lost her scholarship. Now she must face disappointing not just her parents, but all of the supportive members of this tight-knit community who it seems have pinned their hopes on her success. Lin-Manuel Miranda wrote the earliest draft of In The Heights in 1999 during his sophomore year at Wesleyan University, where it was performed by the school's student theatre company The Second Stage. In 2002, Miranda worked with director Tommy Kail on five separate drafts of In The Heights, and a new version of the show was presented at the National Music Theatre Conference in 2005. In February of 2007 it opened Off-Broadway at the 37 Arts Theater, running through July of the same year. The Off-Broadway production received nine Drama Desk Award nominations, winning two. The musical opened on Broadway on March 9, 2008, at the Richard Rodgers Theatre, closing on January 9, 2011, after 29 previews and 1,184 regular performances. The Broadway production was nominated for thirteen Tony Awards, winning four: Best Musical, Best Original Score, Best Choreography (Andy Blankenbuehler), and Best Orchestrations (Alex Lacamoire and Bill Sherman). In The Heights was also a Pulitzer Prize finalist. Featuring the contemporary style of rap as well as beautiful ballads, and laced with the sensuous rhythm of Latin music, it is easy to understand why the score won a Tony Award. It is not just the individual songs, or their impact on the moment in which they are placed in the show, but the manner in which the genres are woven together as a musical tapestry. The live three-piece band,led by Kiki Sanchez, does a remarkable job providing a fairly full sound with a scaled down pit. Scenic design by Cindi Taylor is spot on. One of the calling cards of In The Heights is the ensemble of skilled street dancers featured throughout the show. Their various pop-and-lock routines are sometimes an engaging focal point and sometimes just a pleasant backdrop for the action at hand. Jason Ziev (Graffiti Pete) seems the only dancer able to approach this style, and the show suffers because this component is otherwise missing. What has been put in its place is an emphasis on the entire ensemble dancing as if at a big party. This works nicely—particularly in the song "Carnaval Del Barrio"—but does not supply the desired gritty edge the original choreography provided. In all fairness to the choreographic strengths of this production, it does offer the best choreographed "The Club" scene I have seen. What normally is staged as merely provocative club dancing that becomes competitive is here presented with far more interesting layers and form by choreographer Ricky Nahas. A special nod to dancer Sebastien Cajuste for his strong partnering skills and sensuous solo style. In the end, however, one cannot help but wonder why this production could not find featured street dancers when so many local dance studios focus on that genre. Peter Fernandez does a good job in his portrayal of Usnavi, but needs to work on his diction, as many of his lyrics are unintelligible. He focuses too much on the rap style of his songs, when he should be examining them as rhythmic monologues. The end result is a watered down offering of his character's emotional intent and motivation. As Usnavi's sidekick, Keagan Cerny misses some of the humor behind Sonny's goofy attempts at being a player. A dimpled Mela Vargas has more sweetness than spunk as Nina. Though there is nothing inherently wrong with this, it somehow makes Vanessa (Shenise Nunez) less endearing by comparison. Both actresses have many good acting and singing moments, but both need to work on maintaining their characters throughout the show, and vocal support of their upper registers while singing. While the ladies of the beauty shop are fun when they are all together, Hadiyyah Smith is the most enjoyable as the fiery Daniela. Unfortunately, Valentina Diaz (Carla) seems to have no idea that her character is actually very funny, and misses all of her laughs. Susy Diaz has a welcome, genuine tenderness as Abuela, but doesn't have the vocal chops to sell the end of her song, "Paciencia Y Fe." Likewise, Roxanne Cappa as Camila does a wonderful job acting her song "Enough" but does not really possess the singing voice to match. Andrew Spinelli provides a surprisingly polished performance and beautiful singing voice as The Piragua Guy, smilingly wheeling his cart of flavored ices. Bryan Wohlust is perhaps too expressionless as the stoic Kevin. His subtext is unreadable, and his attitude too surly for the audience to identify with him in his song "Atencion". Michael Wallace (Benny) shows great promise with moments of vocal strength and acting maturity that belie his age. As a whole, Lake Worth Playhouse has done a respectable job with a difficult show. It is one of the most even casts seen on their stage, and the music and pacing for the show is quite solid. With an irrepressible message of joy and hope, "In The Heights" makes for a pleasant summer theatrical outing. This production of In The Heights appeared at the Lake Worth Playhouse through July 28, 2013. The theatre is located at 713 Lake Ave. in Lake Worth, Florida. The Lake Worth Playhouse is a Resident Community Playhouse in it's 61st year. For tickets and/or more information about the theatre and its programs, you may contact them by phone at 561-586-6410 or online at www.lakeworthplayhouse.org. Cast: Crew:
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