In the Heights

In the Heights“Everybody’s got a job, everybody’s got a dream,” says Usnavi, the narrator of In The Heights. That concise summary of his neighbors is accurate, but it hardly does justice to the new musical at the 37 Arts Theatre. There is much more to these jobs and dreams and the people who have them in this vibrant and colorful show onstage.The main character is Usnavi, a good-natured convenience store owner who has never been north of 96th Street. Played by Lin-Manuel Miranda, he describes himself as “the stoplight of the community.” He befriends everyone and pines for the lovely Vanessa, (played with a fierce determination by Karen Olivo), who works at the salon next door to him. However, he lacks the nerve to ask her on a date and can only show his feelings by refusing to charge her for her morning coffee, which he serves light and sweet, just like his abuela. Usnavi is close with Benny (Christopher Jackson), the well-meaning assistant at the town car and limo company, owned by Kevin and Camila, parents to Nina (a lovely Gonzalez), who has just returned from her first year at Stamford University, played by John Herrera and Priscilla Lopez. Usnavi lives with Abuela Claudia, the matriarch of the town who gives guidance and love to everyone who crosses her doorstop (Olga Merediz). Rounding off the colorful characters is Sonny, Usnavi’s younger brother, played by Robin de Jesus, who desperately wishes to be more of a villain than he is.These characters are well developed, fleshed out people and the plot is essentially character-driven. The most conflict this town sees is the question of whether Nina will return to Stanford University, when she knows that her tuition is placing her parents under a great deal of financial strain. The rest of the story stems from several fairly usual and one extremely unusual event – Usnavi finally asks Vanessa out, Nina and Benny are attracted to each other but Nina’s parents don’t approve, and someone wins $96,000 from a locally sold lottery ticket.It is the songs that make these events unusual and not everyday, fleshing out both the plot and the characters through rap, hip-hop and salsa music. Melodies about one night stands that are interrupted by the noise of public transportation and other decidedly unromantic topics are made to sound beautiful by this cast. A major company number, “96,000,” in which the entire cast dreams of what they would do if they won the lottery, is spellbinding. Shifting between rap, hip-hop and salsa rhythms, the desperate hopes of financial stability and security are both cheerful and wistful.At times the music reveals more than the script, and it is while singing and dancing that these characters truly come to life. As Benny, Jackson is the most engaging and infectious while utilizing his rich vocal skills, and Miranda as Usnavi is a masterful narrator while rapping. The songs are well developed and witty, and at times the humor in the lyrics is missed in the rapid-fire delivery, such as a clever reference to Cole Porter’s “Too Darn Hot,” in the opening number. The songs are just as stunning visually as they are vocally, with a company of limber dancers performing sensual salsa moves.Almost every performance of every song is noteworthy, but Meridez as Abuela, singing, “Patience and Faith,” is a singular standout. In the span of a few moments, she channels fear, hope, anger and desperation, as well as quiet resignation, while telling the story of her family’s arrival in America and the dreams they had for themselves.These dreams are what drive these people, helping them through the long, hot workdays of the summer. They are joined by their dreams, and they support each other like family. This community of actors is palpable and infectious. But what drives the performance of its undying energy. Constantly flowing and ebbing, it seems to never cease, and the exuberance is contagious. Watching the hypnotic rhythms of the company dance numbers onstage, I found myself wanting to get up and join them.