by Before Hamilton hit Broadway records – and made composer and star Lin-Manuel Miranda not only a Pulitzer prize winner, but also a musical theater household name of this generation; before Móna and Encanto, his scrappier was famous.
His road to dominance was his signature enthusiasm and hip-hop influences from the jump, but they tended to live in smaller, deeper stories.
There was a good-natured, very sad musical adaptation of the Bring it On cheerleading movie franchise; new songs for the 1977 musical Working; and new Spanish translations for the 2009 Broadway revival of West Side Story. And there was, of course, In The Heights.
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Back in the mid-2000s, Miranda still had to be mentioned: this YouTube relic, in which he lovingly references Disney’s High School Musical 2, is a prime example of his indomitable enthusiasm and early ambition. And it worked: In The Heights, his first Broadway show, enjoyed a three-year Broadway run. It also earned 13 Tony nominations and four wins – ahead of the inevitable film adaptation in 2021. Although it may go down in history as the holiday Miranda show from when the idea for Hamilton – or his Broadway show when he tested. Hamilton’s early material was laughably laugh-out-loud funny at the White House poetry jam in 2009 – there’s a lot to say in this sweeter, sweeter early work.
This current production at Sydney Opera House, directed by Luke Joslin, is a celebrated return. Born at the intimate Hayes Theater in 2018, then transferred to the much larger Opera House concert hall in 2019, it is now set in the Dramatic Theater downstairs. Miranda’s accessible hip-hop form, infused with pop and remixed with musical theater devices such as motif, modulation, call-and-response and ensemble-led harmonies, is on display in this show.
Here, it’s paired with bright Latin sounds and a narrative eye towards rock operas.
The real-life story shows us a few days in one neighborhood, where Usnavi (the wonderful Ryan Gonzalez, who played the role for the first time in 2018) runs a small bodega and watches the life of his family, while equally dreaming of returning to . the Dominican Republic and finally asking Vanessa (the wonderful Olivia Vásquez, also reprising her role).
New college student Nina (Olivia Dacal, an angelic-voiced classical musician and niece of original In the Heights Broadway cast member Janet Dacal, who also appears in this production), and Benny (Barry Conrad) are at work. for her father’s car service company and her love.
Connect, compassion, argument, celebrate and sorrow together through a blackout, a local lottery win, and the oppressive summer heat – and take care of everyone beloved community elder Abuela Claudia (Lena Cruz).
This much-loved and well-lived-in production can’t quite reconcile the situational and lackluster dialogue-driven scenes (shortly, thankfully, in a mostly sung show). He also lies when he transitions from number to number – a frequent issue since he first appeared on the Sydney stage. Between songs, there is a chaotic, lopsided commotion.
Still, this production reaches inside its chest, pulls out its beating heart, and shows it to you. That is hard to bear. He understands that the secret to attacking is loving the characters as much as Miranda did when he created them, building character-driven songs to sit alongside plot milestones so we don’t miss the action from the emotions of the person being directed. this production steadily dives into personality, allowing big emotions to absorb the entire stage.
He also knows how to land the big moments. His sudden twist, heartbreaking, and the big sky action, all-in number one 96,000 are disarming. Abuela Claudia Cruz is packed with charm, which is crucial, and the show’s funniest characters – Usnavi’s younger cousin Sonny (Steve Costi), blind salon worker Carla (Tamara Foglia Castañeda), and the local bar guy – are given plenty of charm. (Richard Valdez) room with a vamp.
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Amy Campbell’s choreography – both wonderful and too narrow here on this new stage – keeps the energy high, and Victoria Falconer, who is new to the production as musical director, solves that with bravery and poise. Unfortunately, the sound isn’t always clear – but you can feel this show in your bones. It is very good to win you over.
Next week, Hamilton returns to Sydney. Audiences can catch both of Miranda’s shows over the next six weeks and it’s well worth it. Hamilton is objectively the bigger and healthier show, but In The Heights is more beautiful: it bursts with early promise and is deeply emotional. Study a rising artist. It is pleasant.
