‘In the Heights’: Signature’s Bustling Barrio
Every person on the block has a story and a song about how they got there in Signature’s high-flying "In the Heights."
No matter how far theatergoers may roam from that corner of upper Manhattan put on the map by Lin-Manuel Miranda and Quiara Alegría Hudes’ Tony-winning In the Heights, they can always return again.
First, because barely a season goes by that a production doesn’t spring to life somewhere near you, wherever you may be. For the DMV this season, that means Signature Theatre’s terrific new production, directed by James Vásquez. And, of course, there’s always the vibrant, gorgeously shot movie by Wicked director Jon M. Chu.
More crucially, though, the show’s creators baked into Hudes’ book and Miranda’s music and lyrics a feeling of warm familiarity with these streets and New York Latino culture. The characters on this particular block, passionately singing and dancing their way through intertwined lives, form an inviting community. It’s fun to return to their barrio from time to time.
And it’s not hard to imagine their slice of home, like Oz or Brigadoon, always out there, just around a corner or over a bridge out of sight, waiting for each theater company to find their way to it, and invite audiences over to visit.
So stepping into Vásquez’s In the Heights inside Signature’s MAX Theatre feels like returning somewhere familiar, even if the trappings are all brand new. Andrew R. Cohen’s transporting set envelopes the house and in-the-round stage with mom-and-pop storefronts.
The city view offers a glimpse of the George Washington Bridge looming over this street block of businesses, from the Rosarios’ Car Service to the bodega run by Dominican immigrant and neighborhood bard Usnavi, portrayed by Ángel Lozada.
Lozada inhabits the role with confidence, and captures that Lin-Manuel rap flow. As Usnavi keeps an eye on dear matriarch Abuela Claudia (Rayanne Gonzales) and all the drama on the block, and works up the courage to pursue his crush Vanessa (Adriana Scalice), Lozada maintains the character’s chill demeanor.
But his Usnavi is perhaps too laidback, when, for certain songs and gestures, a more forceful approach is what’s called for. Consequently, Usnavi makes for an engaging guide in these streets, but he doesn’t summon the same excitement, or arouse our sympathies, like some of his neighbors on the block.
Victoria Gómez’s quietly powerful Nina, revered by her community for “getting out” to Stanford University, draws us to her side from her first song, the poignantly apologetic “Breathe.” Nina might be full of regret, but her soaring voice is full of promise we can believe in, even if she doesn’t quite yet.
She and Chibueze Ihuoma’s Benny, who gets into his flow with “Benny’s Dispatch,” capture the indomitable joy of young love. And their headstrong defiance of Nina’s father, Kevin (Rudy Martinez) brings into focus the show’s authentic, but not preachy, discussion of racial dynamics in the Latino community.
Abuela Claudia’s “Pacienca y Fe (Patience and Faith),” delivered with heartfelt ache and urgency by Gonzales, underlines the immigrant history upon which the block was built. The working-class residents of this hood might at times feel powerless, but they have each other, their community, their pride, and their music.
The music, an energetic amalgam of salsa, merengue, and hip-hop, is enough in itself to keep us coming back to this corner of the Heights. Music director Angie Benson arranges smooth transitions in, and soft landings out of Miranda’s ebullient score, performed admirably by a nine-piece band, which sounded a bit muffled in the mix.
While I wished for more volume out of the speakers, the songs still sound great, and full-company musical numbers like “Carnaval Del Barrio,” featuring Shani Talmor’s modern dance-infused choreography, are often exhilarating.
Several solo or ensemble numbers offer more modest treats. Berto Fernández’s hale-voiced Piragua Guy sells his “Piragua” with a thousand smiles, and Karmine Alers, Carianmax Benitez, and Scalice lay down a fierce “No Me Diga,” as Daniela, Carla, and Vanessa tell it like it is about everybody else’s business.
Every person on the block has a story and a song about how they got there, how they’re stuck there, or how they’ll get out one day. One needs only to lend an ear, and a modicum of empathy, to feel a part of this community in the Heights.
In the Heights (★★★★☆) runs through May 4 at Signature Theatre, 4200 Campbell Ave., in Arlington, Va., with a Pride Night performance on April 25, Latine Affinity Night on April 4, and Discussion Night performances on March 18 and April 9. Tickets are $40 to $131. Call 703-820-9771, or visit www.sigtheatre.org.
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