The career of Lin-Manuel Miranda is mythic at this point. Having created one of the most successful musicals in history, he is unlikely to be forgotten, no matter what his future holds. However, to properly understand the multi-hyphenate talent, one must consider the impact that In the Heights continues to carry. Returning to Musical Theater West after several years, the story follows Usnavi as he goes through a summer in the barrio. Despite the trivial set-up, Miranda’s ability to capture the joys of a culturally diverse community leads to one of the most invigorating and empathetic shows imaginable.
With bright eyes and a friendly wave, he introduces the world to Washington Heights in the only way he knows how. The typical orchestral prelude is replaced with a boombox mix-up of the various motifs as a graffiti artist swirls the cans in the air. Everything is hypnotic, mixing hip-hop with Latin flavors while being unafraid of its Broadway legacy. As Usnavi jokes midway through the titular opening song, he’s hoping you’re paying attention. There’s a lot that goes down and, depending on character, the genre styles shift to complement different figures. The fact that it’s done with infectious immediacy shows the effort of someone who believes in this world and in everyone working together to bring about change.
Like its musical influence, the tonal styles shift from scene to scene. One minute, it’s a comedy about the sibling rivalry of Usnavi and his brother Sonny working at a convenience store. The next one is a rap breakdown of Benny working dispatch. Later on, there’s a discussion of generational struggles to immigrate and make a better life. Every chance it gets, there’s some evidence of the American dream attempting to break through the reality, to suggest the value of a little more financial security. Maybe it’s a better education or simply staying in business. Whatever it is, it drives the story, creating a very relatable throughline for viewers who clock into their 9-to-5s and daydream of a better opportunity.
Musical Theater West’s production is a mix of professional actors with a few younger student performers. The latter group largely appears in the background or, in the case of “Carnival Del Bario,” cheering through the aisles while waving various cultural flags. It’s a celebratory study of the neighborhood, and the small details in the dance numbers fill it with life. It’s there in how the dance sequences become more elaborate, mixing personality and humor with every spin and jump. It’s immersive and life-affirming, capturing the power of music to unify even in times of crisis. Based on how the story progresses, it becomes downright euphoric by the end, allowing for the final harmonies to become bone-chilling in their transcendence.
There is never a dull moment. In the Heights is constantly full of wonder as characters wander across the stage, alluding to worlds beyond the main text. This just happens to be Usnavi’s, as he reflects on his youthful daydreaming that’s on the verge of a more mature mindset. Even still, the magic spins from beat to beat as the show contemplates the value of the neighborhood and possibilities of a greater world beyond it. Even with an ending rich with anticipation, it’s unafraid of small traces of melancholy, of suggesting that not every story ends conveniently. Even so, it’s important to remember the things that matter.
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