I do not get to experience New York City and Broadway as often as I would like, but I was in Manhattan over a year ago to visit my daughter and had the pleasure of seeing In the Heights with her. It was a sweet, high-quality musical about Hispanic immigrants in the Washington Heights area of Manhattan, above Harlem, most of them from Puerto Rico and the Dominican Republic.
In the Heights went on to win several Tony Awards, including one for best musical, and, while hardly one of the most memorable (or hummable) musicals of the past half-century, it was wonderfully entertaining and at times deeply moving. (How can you lose when the themes go beyond boy meets girl, and include immigration, the agony of learning a new language, alienation, losing one's employment — there's an echo of our times, no? —and more?)
It naturally helped to have the main character, Usnavi (one of the funniest gags in this show is to discover how he got his name), played by the true genius behind this charming show: the man who wrote the very Latin-sounding, hip-hoppy lyrics, Lin-Manuel Miranda. He was on fire, as was most of the Broadway cast.
This brief road show visit to Toronto, thanks to Dancap Productions, is far, far below the level and quality of the original Broadway presentation, which is a real shame, because In the Heights deserves better. Major roles in this show are often played by understudies, and only a few of the major characters shine like they did in New York. (Few road shows are at the level of the original stars, of course, but this one is sadly lacking in quality and excellence). Even if many of the voices are powerful and even beautiful, the sound is too often muffled; my wife and I missed many of the words and the intricate, awe-inspiring rhymes of Mr. Miranda's lyrics.
There is much to recommend about In the Heights, of course: the set is stunning — it feels lived in — and so very right-on, from the 212 area code over stores, to the storefront signs across the stage. It’s enough to make you feel like you’re walking through the actual barrio on a July night.
In the Heights has a number of fine songs, clever lyrics and enough moments to make the audience feel like they are experiencing a kind of Latin-inspired Fiddler on the Roof. Some of the dancing is terrific, and I almost learned to respect “hip hop” and “rap” — two concepts of modern music that have always left me totally cold.
It's worth a night out, but I sure wish the cast was worthier of the music and script, and that the script was less cliché and formulaic. But for those passionate for musicals, you may find the two-and-a-half hours a solid experience.
Evening shows start at 7:30, and it closes quite soon — Feb. 19 — so don't forget that!
In the Heights, Toronto Centre for the Arts, Feb. 7-19
Allan Gould is Post City Magazines’ theatre critic. He has a Ph.D. in english and theatre from York University and has written over 40 books. His writing has appeared in Toronto Life, Chatelaine, en Route, Canadian Business, Good Times and Financial Post. He is married with two children. Aside from his family, his major passions are theatre and film, because they enrich life with pleasure and meaning.