We can all barely wait for the announcement from The Rep of an emergency capital fund-raising campaign to fix a sudden and unexpected tumultuous event.
The roof of the theater needs to be replaced because a rambunctious wildly diverse band of brothers and sisters blew the roof off the Quadracci Powerhouse Theater Saturday night during the opening night of “In the Heights,” the Lin Manuel Miranda musical.
On the continuing journey to its recognition as one of the best regional theater companies in America, director May Adrales captured a special kind of magic rarely seen on this country’s stages.
Mr. Miranda is, of course, the creator of the wildly popular and inventive “Hamilton” this production is an opportunity to see his first steps into both form and subject that has swept the country.
This is a tale of the people who live in the same Latino neighborhood in New York. But even more than a story of people, this is a story of place – Washington Heights – and the impact it has in shaping how people go about their daily lives.
And what a neighborhood it is. A place where people have disagreements and worries but a place that binds them together into a family as tightly knit as ny nuclear group of people.
Dreams exist beside uncertainties. Fears live next to the courage. Sorrows are overwhelmed by communal joys.
These may seem like simple folk with simple issues, but there is a complexity to their lives and loves. Nothing comes easily.
There are two primary stories being told here.
One is about Usnavi (Ryan Alvarado), the young man who runs the neighborhood bodega and who spends hours trying to figure out how to get with the sexy Vanessa (Stephanie Gomérez).
The other is about the heroic Nina (Sophia Macias), the young girl who has been one to escape the barrio and has gone to Stanford, making everyone proud but especially her father Kevin (Tony Chiroldes), and mother Camila (Karmine Alers).
Nina’s first year in college has not been successful. With two jobs and strained pressures she has dropped out and come home to tell her parents, crushing their dreams for their only daughter.
She breaks the news to them and when he is alone, Mr. Chiroldes sings the most moving song in the show, Inútil (Useless) about the sorrow and shame he feels as a father.
“I will not be the reason
That my family can’t succeed.
I will do what it takes
They’ll have everything they need.
Or all my work, all my life
Everything I’ve sacrificed will have been useless.”
There was barely a dry eye among the parents in the audience, especially all the fathers.
Let’s start with Ms. Adrales, an Associate Artistic Director at The Rep and has directed all over the country. She seems to grow by leaps and bounds in each show I see.
Here she captures the beat of the heart in this neighborhood. She keeps her hands off this largely Latino cast, letting them run with the rhythms that thrive inside their hearts. Her inventive construct of moments of brash explosion mix with moments of excruciating quiet to take an audience on a roller coaster of emotional investment.
She pulled the strings but she had plenty of help, led by music director Dan Kazemi conducting a 10-piece orchestra seen on stage on top of a grillwork of pipe in a scene created by Tim Mackabee.
Mr. Kazemi, a Rep Associate Artist, takes hip-hop and pop and Latin beats andmelds the entire thing into an evocative musical journey that keeps the world going. It’s a rare evening when you see a largely white audience shaking its shoulders in time to the pounding sound.
This cast of 18 singers, dancers and actors create a sound that is both precise and enthusiastic. Capturing numbers that mixe Spanish with English is a difficult task but sound designer Megan B. Henninger does a spectacular job of capturing every shout and every nuance.
The cast is, in a word, spectacular.
Led by the charismatic Mr. Alvarado there are no copies or stereotypes here. Each characters is an individual with his or her own story. For some, the individuality is expressed in lines and verse. For others, in dance.
William Carlos Angulo puts these dancers through their paces. The dance is often sexy but always filled with respect for others. I’ve seen productions of this show with choreography where the dancers must have been instructed to “go dance dirty.”
Not for Mr. Angulo. He took the heat and passion of these young people and turned it into both a seduction and a compliment.
A special mention must be made of Yassmin Alers who plays the abuela (grandmother) of Usnavi. Perhaps grandmother more by deed than blood, she is the soul of the neighborhood, full of the kind of elder decency that is both a lesson to the future and a lament to the past. She is a powerful and sensitive actor.
The Rep’s “In the Heights” is everything a great musical theater production should be. It’s smart, startling well sung, colorfully danced and brilliantly acted.
Production Credits: Director, May Adrales; Choreography, William Carlos Angulo; Music Direction, Dan Kazemi; Scenic Designer, Tim Mackabee; Costume Designer, David Israel Reynoso; Lighting Designer, Robert J. Aguilar; Sound Designer, Megan B. Henninger; Musical Supervisor, John Tanner; Dialect Coach, Micha Espinosa; Casting Director, Frank Honts; New York Casting, Dale Brown, Stage Manager, Michael B. Paul; Production Photographer, Michael Brosilow.