“In the Heights” delivers the quintessential Muny experience

The perfect convergence of Mother Nature, Lin-Manuel Miranda and a talented cast of performers delivered the quintessential Muny experience Saturday night with “In the Heights.” There are some shows that shine a little brighter on the Muny stage, as twilight descends and the stage sparkles with fireworks of the literal and metaphorical kind. “In the Heights” is just that sort of show.

Created by Miranda (pre-”Hamilton”), it’s a vibrant, culturally rich musical that transports audiences to the lively streets of Washington Heights, a predominantly Latinx neighborhood in New York City. It blends hip-hop, salsa, merengue and traditional musical theater in a dynamic score that pulses with the energy and rhythms of the community it portrays.

In 2008, “In the Heights” received Tony Awards for Best Musical, Best Original Score, Best Choreography and Best Orchestrations, and was widely recognized for its groundbreaking music, choreography and cultural impact. The Muny production, with direction and choreography by William Carlos Angulo, continues that successful lineage with its strong production that balances energetic choreography and staging with body-positive casting and costumes, compelling cultural representation and endearing community spirit.

The musical begins with a showstopper: the title number, “In the Heights.” The song and the impressive, stage-spanning set design by Arnel Sancianco, establishes the tone for the entire show and reveals the vibrant world of Washington Heights. The two-level set is instantly engaging and creates a true sense of “being there” with a center turntable that ingeniously revolves to feature Usnavi’s bodega, Rosario’s Car Service and the Beauty Salon throughout the rest of the show. Alongside the carousel are two “alleys” that always have characters interacting with each other, even when the main action is elsewhere. Behind the main set are video projections by Caite Hevner that constantly provide ambiance and background action. Their placement in the background and lack of prominence provide an additional level of realism and atmosphere. Just like a real New York city street scene, this production is a visual feast.

The opening song also introduces the main characters:

Usnavi de la Vega, the protagonist and narrator, played by Benji Santiago, who delivers a charismatic blend of energy, vulnerability and charm. Usnavi is the heart of the story, and Santiago’s effective portrayal seamlessly transitions between fast-paced rapping, heartfelt moments and lively interactions with the ensemble. His performance combines vocal prowess, emotional nuance, charisma and high energy to create a character who is the heartbeat of Washington Heights and a compelling, multifaceted protagonist.

Abuela Claudia, the beloved matriarch of the neighborhood who raised Usnavi. As played by Nancy Ticotin, she becomes the audience’s abuela (grandmother) as well. Ticotin’s heartfelt performance and heart-wrenching (though off-stage) death later, embodies the spirit of perseverance and faith. Ticotin’s performance of Abuela Claudia’s signature song, “Paciencia y Fe,” is one of the show’s highlights with an emotional depth that beautifully captures the character’s perseverance and hope.

Vanessa, the object of Usnavi’s affection, who is played with strength, determination and yearning by Alysia Velez. At her salon, she and her fellow stylists trade gossip and with wit and humor like the women in “Steel Magnolias” – only with different accents.

Nina Rosario, the neighborhood’s “star,” is played by Ariana Burks.

Sonny de la Vega, Usnavi’s younger cousin. Thanks to the plucky performance by Miguel Gil, Sonny is one of the most endearing characters in the production. Gil blends of youthful energy and sharp wit with underlying vulnerability to capture his role as the playful yet socially conscious cousin who adds humor and heart to the story.

Kevin and Camila Rosario are Nina’s parents, played by Martín Solá and Karmine Alers. Although they play a well-match married couple, they each had fine individual moments, especially Camila’s emotionally powerful song “Enough.” Alers’ assertive stance and passionate delivery make it another of the musical’s standout moments.

Also noteworthy is Alex Joseph Grayson as Benny, who is in love with Nina. Grayson’s duet with Burks, “When You’re Home,” is lovely – filled with love, dreams and a sense of belonging. Burks provides her best vocal performances on songs when she’s paired with other singers or not trying to balance her voice with the sometimes-overpowering orchestra.  

Another performer deserves kudos: Eddie Martin Morales as the Piragua Guy, a cheerful and resilient street vendor who sells shaved ice treats. His short moments pushing his cart across the stage add another layer to the character-laden street. His moment celebrating a victory over the nearby Mister Softee truck is a mini-triumph.

Special note also goes to lighting design by Rob Denton. Throughout the entire show, the lighting was clear and unobtrusive (as it should be). It was the moment of the “blackout” that makes you realize how much lighting can augment and support a successful production.

As “real” as “In the Heights” can seem, there are some fun and unexpected special effects: actual fireworks explode over the stage during the blackout and fire hydrants spray the stage with water during final scene. They were a nice touch.

The Muny’s production of “In the Heights” continues until August 15. See their website for more information.