Rating (out of four stars): ★★★
It’s almost a tired cliché by now, but I’ll just come right out and say it: Lin-Manuel Miranda is a genius.
After seeing “In the Heights” for the first time this weekend at Phoenix Theatre, I think the musical may rank among my all-time favorites. The production wasn’t perfect, but the pure intention and heart behind the book (by Quiara Alegría Hudes) and lyrics by Miranda shone through.
The show brings to life a few tumultuous days in Washington Heights, a mostly Dominican-American neighborhood in New York City. Bodega owner Usnavi introduces the characters and gets the story going with a high-energy number. We meet Abuela, who relies on “pacienca y fe” to get through hard times; the Rosarios, who anxiously await their daughter’s return from Stanford; Benny, a hardworking employee at their taxi cab service; and Vanessa, a dissatisfied hairdresser with whom Usnavi is hopelessly in love.
There’s really nothing else out there like this musical. It incorporates elements of salsa, bachata and freestyle rap. The sometimes bouncy, sometimes sultry, always powerful currents of song and dance gently guide the viewer through a sea of heartache, romance and pride. The pacing is impeccable—we never stay too long in one particular scene, but the short timeline in which the events of the story take place and the omnipresence of the set keep the audience encapsulated and fully engrossed.
At Phoenix Theatre, cast members moved around a city street, sometimes standing on fire escapes and other times visible only through windows. During ensemble scenes and musical numbers, mini-scenes played out all over the stage. Nick Flores’ choreography was likewise of the beauty-out-of-chaos variety. It was thrilling to watch.
The inspired lighting design by Michael J. Eddy perfectly complimented the show’s high energy. Bright oranges, blues and reds played across the stage during large numbers, and the sunrises and sunsets above the city skyline tugged at the heartstrings.
In my opinion, the standout performance of the night came from Christopher Brasfield as Benny, the boy with dreams of opening his own business someday and of marrying his boss’ daughter. Brasfield’s playful energy was a highlight of the production, and I admit that I was more invested in Benny’s future than in any of the other characters’.
Brasfield’s chemistry with Nina Rosario, played by Noellia Hernandez, was particularly heart-wrenching. (I may or may not have cried every time they had a scene together.) Hernandez has a dynamic, powerful voice and an enchanting persona, although there were some spots where she appeared to lack emotional conviction. Her scenes with Benny, though, were entirely believable.
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The elephant in the room (or should I say house), at least in my mind, was the controversial casting of a non-Latino actor in the part of Usnavi. Some in the Phoenix-area theater community were angered that in a state with a high population of Latinos, the lead role in a show where Latino culture and heritage are central motifs went to Iranian-born Pasha Yamotahari.
I can certainly see their argument, but it’s possible there wasn’t a large enough pool of Latino actors to draw from when casting Usnavi. In any case, we can never truly know without being in the casting director’s position.
I’ll give him or her the benefit of the doubt here. Although Yamotahari’s accent wasn’t completely impeccable, his performance was quite good. His Usnavi lent energy to the entire show, driving the music and dialogue. The songs of “In the Heights” are sure to be stuck in my head for the next few days (or weeks), and it’ll be his voice I hear.
I applaud Robert Kolby Harper for directing a show that made me cry at least five times. I applaud Hudes and Miranda for writing it.
Now I’m just waiting for the day I win the Hamilton lottery, along with plane tickets to NYC. As Abuela would say, “Pacienca y fe.”
Contact the columnist at Faith.Anne.Miller@asu.edu.
