A story of culture, a soundtrack of wit and aspirations, a musical of vibrant community—Signature Theater’s In the Heights brings Lin Manuel Miranda’s genius to the DMV at an opportune time. Financial worries in an inflating economy and antipathetic narratives around immigration present ample cause for the important conversations highlighted by this musical. Bursting with musical talent and remarkable, honest acting, this must-see production runs from Feb. 11–May 4 in Arlington, Virginia.
Walking into Signature’s arena-style theater, one is met with colorful store signs littering the railings above. The setting is warm and welcoming, as though the audience members are bystanders walking along the sidewalk with the characters. The brilliance of the set is overpowering and the audience is overwhelmed before the production starts by the exuberance and livelihood of Washington Heights, a predominantly Dominican American neighborhood in New York City. Representing a blend of Latin American cultures, the show includes various Spanish dialects and accents woven into the lyrics.
The musical follows two main characters. One is Usnavi de la Vega (Ángel Lozada) with his bodega, budding romance with Vanessa (Adriana Scalice), and maternal relationship with Abuela Claudia (Rayanne Gonzales)—who miraculously obtains a winning lottery ticket. The other focal character is Nina Rosario (Victoria Gómez), the pride and joy of the neighborhood, who just returned from her first year at Stanford.
Underlying In the Heights are themes of immigration and the American dream, exemplified through stories of immigrants traversing the seas with a backpack and a dream, opening a small bodega to be able to make ends meet, or building a thriving car business that’s only expected to grow. This production highlights the beauty and pure humanity often bled dry by the media.
The hardships of immigrants also lie at the forefront of In the Heights. Nina, whose parents own the car service business, returns home from Stanford in the first act. Her first number, “Breathe,” hints at an unfortunate occurrence during her first year that led her to drop out. Gómez’s rendition of the song truly delivered that emotional turmoil; she has an ethereal voice that powerfully strikes through the small space.
It isn’t until the awe-inducing, Tik Tok viral “No Me Diga,” that the audience is confronted with the knowledge that Nina had to drop out because her grades were too low for her scholarship. The witty back-and-forth between Vanessa, Daniela (Karmine Alers), Carla (Carianmax Benitez), and Nina highlights the gossipy and close-knit nature of the community. The interjecting, crooning “tell me something I don’t know” repeats as the characters reveal juicy details about Usnavi’s supposed love life and Nina’s small tryst with Benny (Chibueze Ihuoma), an employee of her father’s.
The number climaxes with Nina’s striking declaration of dropping out and prompt run off the stage. She was working overtime to make ends meet, which meant she didn’t have time to study. The challenges of being a first-generation student are quite relatable—how does one prioritize academics over making minimum wage when textbooks alone cost hundreds of dollars?
Alongside the personal challenges of immigration, gentrification is another salient issue explored in the production. Many of the businesses in the Heights were being bought out—the Rosarios’ car service was offered a deal near the beginning of the show, which Nina’s father took for her to be able to afford school, a pervasive point of contention for the family throughout the musical. The family’s business was severely underestimated in worth, but the instant monetary gain was one the family needed. It was a tricky balance of dignity and need for financial stability.
Other shops were also moving out of the area, slowly stripping the neighborhood of its culture and flair. Yet, Usnavi, who was originally going to use the funds from Abuela Claudia’s lottery winnings to travel back to Puerto Rico, decided to stay and rebuild his business after a robbery. His determination to stand against gentrification is an inspiring end to the show.
The musical’s prowess and critical acclaim lie in its lyrical genius, having won Tonys for Best Musical and Best Original Score in 2008. In the Heights was Lin-Manuel Miranda’s first Broadway show, filled with freestyle rap blended with Salsa—it was even deemed a hip-hop version of Rent. The clever production broke barriers and typical musical standards with references to Duke Ellington’s “Take the ‘A’ Train” and Fiddler on the Roof, bringing in a new era of theater. Highlighting Latino culture in American neighborhoods provided a keen visibility that enraptured audiences with the stories of the individual. It continues to be a virtuoso performance of rich cultural representation that was revolutionary in its time and continues to make waves in the current day.
Signature Theater’s In the Heights is an eclectic storm of romance and immigration that marries dreams with reality. It’s a timely one at that, humanizing the struggles of immigrant life often demonized in the media, providing a glimpse into the lives of ordinary people. The show authentically and honestly depicts those trying to take another step forward and achieve their dreams, living in the storied city of New York. Rife with opportunity and struggle, this production is most definitely worth the watch.
Favorite numbers: “No Me Diga,” “Paciencia y Fe,” “Carnaval del Barrio,” “Finale”
