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Theater review: Lively musical soars to rare 'Heights'

Tampa Bay Performing Arts Center

"In The Heights" is set in New York's Washington Heights, a bustling Hispanic-flavored neighborhood full of dreams and bodegas.

By KATHY L. GREENBERG | Tribune correspondent

Published: October 29, 2009

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Theater critics and reviewers usually stay clear of previews. It's common courtesy to let the cast and crew work out any kinks before a show's official opening. But Tuesday night's "trial run" of "In the Heights" at the Tampa Bay Performing Arts Center was a happy exception.

The national tour is premiering in Tampa, and what a treat to be the first city to enjoy this flawless production. From the vibrant music to the endearing characters, it's no wonder Lin-Manuel Miranda's Broadway hit won a Tony for best musical.

Miranda made a surprise appearance before the show began and called out to the audience, "What's up, Tampa?!" His abundant enthusiasm and excitement heralded a show brimming with life.

The setting is New York's Washington Heights, a bustling Hispanic-flavored neighborhood full of dreams and bodegas. The George Washington Bridge can be seen from the street that houses Rosario's Car and Limousine company, a corner store and a beauty salon. This is not just a bridge to New Jersey, but a symbolic route to the opportunities the Heights cannot provide for three primary characters.

Nina (Arielle Jacobs, whose clarity of voice is phenomenal) has come home from her first year at Stanford. Her parents (Daniel Bolero and Natalie Toro) own the taxi service, and they've sacrificed a lot to send their daughter to college. They don't know yet that Nina lost her scholarship and had to drop out of school.

Usnavi (Kyle Beltran) runs the bodega with his cousin Sonny (great quipster Shaun Taylor-Corbett). He struggles to keep the business afloat, even though he gets regular business from the Rosarios' drivers and café con leche aficionados.

Vanessa (Yvette Gonzalez-Nacer) works in the salon and is desperate to leave the neighborhood. Her mother's drinking habit depletes the money she needs to escape, so she needs either a miracle or good friends to bail her out.

One of the best qualities of this show is the unwavering optimism inherent in every character, regardless of circumstances. Their built-in good nature and hopefulness prove how much affection Miranda, who grew up in Washington Heights, feels for the people and place.

His lyrics, too, are insightful and often hilarious, as is the Spanish-spiked dialogue that book writer Quiara Alegria Hudes helped refine. With these assets, plus Andy Blankenbuehler's explosive choreography and Thomas Kail's perfect direction, "Heights" soars to a level of brilliance. Musicals don't get any better than this.