In the Heights, Marriner Group and Joshua Robson Productions, Comedy Theatre (and later at HOTA Brisbane), 1 Aug-6 Sept.

 

Lin-Manuel Miranda's 2008 Broadway debut is inevitably overshadowed by the show that came next, but it's a fun depiction of a place and milieu on the corner of a Washington Heights neighbourhood - deliberately somewhat small-scale as we follow the day-to-day lives one summer of a couple of Latin American characters dealing with money troubles, degraded infrastructure and urban blight. This production, grown from a run at the Hayes in 2018 to runs at the Opera House and previous tours along the NSW central coast, has a strong emphasis on the dance elements of the show, constantly moving from beginning to end under Amy Campbell's strong choreographic hand. While the plot is a somewhat familiar slice-of-life as various characters dream, romance and handle rising temperatures on the street, the execution is sharp and skillful.

Unfortunately, i was at a performance where understudy Jerome Javier was on for Ryan Gonzalez as the lead, Usnavi - Javier is undoubtedly a skilled performer and can handle the technical requirements of the role well, spitting out Miranda's dense lyrics clearly and precisely - but they're also a younger performer and the role really requires someone who can give the impression of having lived in a rut for a while, and the fit is not quite precise enough to make them a seamless replacement.   Elsewhere, the regular performers are strong - from the ever-dancing ensemble to the gossiping trio at the beauty parlour played by Olivia Vasquez, Vanessa Menjivar and Tamara Foglia Castaneda, to scene-stealing Richard Valdez as the gleeful Piragua Guy and Dayton Tavares' smooth moves as Grafitti Pete. The ensemble sell joy in numbers like "96,000", the act one climax "Blackout" and the celebratory "Carnival Del Barrio" and also emotional depth in Abuela Claudia's "Pacience Y Fe", and deliver the meat of the show well. 

Director Luke Joslin keeps the show on a fairly simple staging, leaving space on the stage for dance to explode, and Mason Browne's set design is a similarly simple design adapted for maximum utility. It's a solid production rather than a revalatory one, mostly serving as a vehicle for its perofmers and its choreographer which both drive well.