‘In the Heights’ @ Theatre Arlington

Photos courtesy of Theatre Arlington

—Jan Farrington

Theatre Arlington’s noisy and delightful In the Heights is quite a party—a neighborhood carnaval set in upper Manhattan a few years ago—specifically in the then-largely Hispanic Washington Heights barrio where Miranda grew up. It’s a celebration of song, dance, determination, and the human community.…

Lin-Manuel Miranda’s first big musical (before all the Hamilton fuss) showed us his exciting way with the American story. In the Heights’ hip hop style might have confused our great-grandparents —but they would have understood the plot, a musical take on the striving, strong people who came to America fleeing hunger, danger, and oppression and looking for a new home.

But “home” can be hard to find—or recognize when you do. Miranda’s plot (the book is by playwright Quiara Alegria Hudes) has us following a parade of interesting characters….A young woman who’s the first in her family to go off to a prestigious college, with lots of family hopes and dreams on her shoulders….An older woman who still, decades later, longs for the sights and scents of her old home in Cuba, though she loves her chosen family in New York….A restless young man whose parents left him anchored to a neighborhood bodega (a tiny, essential convenience store).

By the time you exit the theater, you’ll have a head full of Washington Heights folks and their dreams—and perhaps some thoughts about your own family’s history with this country.

The lively show is directed by Alejandro Saucedo and choreographed by Hannah Arguelles, with Danielle Georgiou as the show’s fight and intimacy director. Music director Cherish Love has collected singers I’ve noticed on stages all around North TX, along with new faces I’d like to see (and hear) again—and she’s pulled strong vocal performances from them all.

If you’ve only seen the film version of In the Heights, you’ll discover some good songs that were cut from the movie—but add to the depth of the story being told. I’m thinking specifically of Kevin and Camila Rosario (John Sanchez and Araceli Radillo), parents of college student Nina (Jacqueline Castillo) and owners of a car service important to the community. Their numbers give us a sense of what it’s been like for them all these years—and the tug between old memories and traditions, and new lives in the U.S.

Part of that tug involves their daughter Nina (Castillo), a smart, stressed Stanford student who’s come home from her first semester feeling that she’s failed “the block”—and most of all, her parents. Nina’s sweet, friends-to-lovers romance with Benny (Jamall Houston), one of her father’s employees, is a strong thread running through the show—and their disstinct voices are a beautiful blend.

Brazilian-born singer-dancer Sophia Rodriguez makes a vibrant Vanessa, a young salon worker who dreams of taking the A train to a better life in Lower Manhattan. She doesn’t notice the devotion in the eyes of bodega-guy Usnavi (Jeremy Coca), who has her special brew ready every morning…but can’t work up the courage to ask her out. Coca’s slightly stiff body language and anxious eyes are a perfect reflection of Usnavi’s constant state of “what should I do?”

Gigi Cervantes is a heart-tugging, show-stopping presence as Abuela Claudia, everyone’s nurturing aunt/grandma—whether they’re related or not. Samantha Padilla as salon-shop owner Daniela—with faithful sidekick Carla (Savannah Elayyach) quipping at her side—gets to raise the roof (and the neighborhood’s spirits) with her voice and humor. And Alfredo Tamayo’s rich voice sets the rhythm of the barrio as the Piragua Guy (the piraguero sells a shaved-ice treat) who passes by each day.

Alvaro Carranza’s Graffiti Pete is the neighborhood pest and cut-up—whose artistic chops finally get a worthy workout. Nicolas Lama-Riva is Usnavi’s nephew Sonny, a funny combo of boy and man—with a great voice that comes through even in some of the group numbers. And the more-than-good ensemble singers and dancers fill out the crowded, busy streets of the city.

Bryan Stevenson’s cozily in-the-’hood set design—and lights that give us dawns, evenings, and even a flash-lit emergency—are very well done. Sound designer Ryan Simon uses body mics to add clarity to the raps and vocals; the lively music from the offstage band, though, needs to be dialed down to let those good voices shine.

Wepa, Theatre Arlington!

WHEN: February 7-23, 2025
WHERE: 316 West Main St., Arlington TX
WEB: theatrearlington.org