In the Heights
Artes de la Rosa Cultural Center for the Arts
May 17, 2013
When a close friend tells you that in one year he is
directing his dream musical as a regional premiere, then after auditions
announces the cast that includes several of your other friends and acting
acquaintances in their dream lead and supporting roles, and finally the
production company asks you to review the show: you spend the week leading up
to opening night a quiet nervous wreck.
On one hand, I wanted to give my friends a good
review; on the other hand, I needed to be fair and unbiased; and, oh yeah, I
don’t review musicals because they are not my area of expertise!
For nine weeks, I avoided these friends- their
Facebooks, blogs, even social functions- because I wanted to come to the
opening night performance as clear of all bias as possible. To top it all off,
I had seen the Tony-award winning Broadway production with the original cast as
well as the Broadway tour that came through Dallas last year, and I struggled
to grasp that a 250 seat theater with no fly space was attempting this
production.
It is with
great relief that I tell you I was in joyful tears by the third song/scene because of the theatrical
feat Artes de la Rosa Cultural Center for the Arts had accomplished with their
regional premiere of In the Heights.
Conceived by
Lin-Manuel Miranda, who also wrote the music and lyrics, and the book written
by Quiara Alegria Hudes, “In the Heights
tells the universal story of a vibrant
community in New York’s Washington Heights neighborhood – a place where the
coffee from the corner bodega is light and sweet, the windows are always open
and the breeze carries the rhythm of three generations of music. It’s a
community on the brink of change, full of hopes, dreams and pressures, where
the biggest struggles can be deciding which traditions you take with you, and
which ones you leave behind. In the Heights is the winner of the 2008
Tony Awards for Best Musical, Score, Choreography and Orchestrations.” (taken from ADLR’s publicity materials.) The
script and the lyrics were full of wit and charm, and I was easily moved from
laughter to tears as the story went along. The music was a mixture of Latino
and hip hop beats- a truly unique sound for a full length musical. There are
several lines sung or spoken in Spanish, so yet again those of us who are
bilingual are treated to extra jokes and insights. However, an English-only
speaking audience can easily grasp their meaning so to enjoy the story as well.
I first met Artistic Director Adam
Adolfo when I was assigned to review a show at Artes de la Rosa in September
2010. Since then, he and I have worked together professionally several times
and grown close personally. After our first show together, I met a woman (who later
turned out to be his mother), and I told her, “He has a unique gift. There are
good directors, there are great directors, and then there are a few in every
generation who are classified as brilliant directors. Adam is one of those
brilliant directors. There is a light that emanates from him, and he sees the
world and creates new worlds like no one else I know.” His direction of In the Heights lives up to my long held professional
opinion of my now friend. Blocking is organic, the ENTIRE theater space is used
with ease and creativity, and all the elements of design are united to tell the
story of a group of people living along a city block in Washington Heights.
Adolfo elicits truthful acting in the midst of belting out dynamic notes from
his cast, and he supports them with an ensemble of dancers and singers who are
allowed to shine in their disciplines without detracting. Adolfo found stories in subtext and movement
that the original and touring shows somehow missed, and his take on the script
and music was a rare experience that rivals- and in many instances surpassed-
the experience I had when viewing the original Broadway cast. One of the songs
asks what would you do if you won $96,000? Well, if I had $96,000, I’d
give it to Adam Adolfo to produce more work like this. Until then, I hope
producers both local and far away hear me as I quote the show “You have to commission a great artist while his rate
is still good.”
Adolfo was obviously well supported by Musical
Director Kristin Spires and Choreographer Elise Lavallee. Spires conducted the
tight band who created a fantastic sound. There are those in the audience who
claimed the band was too loud. As the critic in the last row, I heard every
word out of the mouth of every actor/singer (when their mics were working
properly.) However, I recognize there are those of a certain generation who are
unaccustomed to following sing/speak or rap lyrics which are prevalent
throughout In the Heights. Another
feather in Spires’ cap, and the cap of Associate Music Director Mark Howard, is
the stunning, pitch perfect, powerful, and moving vocals coming from the stage.
Yes, a lot of the amazing vocal performances were a result of the dynamic
talent assembled; however, their ability to blend and play off one another is
to Spires’ credit. Lavallee’s
choreography, with help from Associate Choreographer Maegan Marie Stewart and
Assistant Choreographer and cast member Michael Anthony Sylvester, was crisp,
original, and believable. It’s hard to make a sudden burst into song and dance
look organic, but the moves were in styles found in el barrio, so it worked for both performers and the audience. At
times the choreography was SO BUSY I didn’t know where to look. (I heard this
from other audience members, too.) And, given the set design, sometimes the
dancing upstaged the action and dialogue actually driving the storyline by its
simple placement at downstage center. This upstaging was rare, though, and the
movements and pictures created were a worthy distraction when it did.
As I previously stated, ADLR is a small theater with 250
seats, no fly space, a proscenium arch
and three aisles in the house. The live band was on the floor in front of the
stage, behind a low wall constructed specifically for this show, giving the
appearance of a sunken orchestra pit. Somehow, scenic designer Sarahi Salazar
made ADLR into an authentic looking New York City block, complete with levels,
multiple entrances and exits, and plenty of play space for the cast to work
within all of which was covered in a fair amount of “artistic graffiti” - presumably
from local tagger (character) Graffiti Pete. Little touches, including a fire
hydrant, completed the street look, though the hydrant was hidden for most of
the show behind a musician. Salazar was assisted in her endeavor by Assistant
Scenic Designer and Technical Director Bradley Gray, Scenic Charge Artist
Jessica LaVilla, and Master Carpenter Jonathan Jones.
Lighting and projection design by Aaron Sanchez and
music design and engineering by Jordana Abrenica, though phenomenal and
supportive of the overall storytelling, were not without their opening night
glitches. While I tend to frown upon giving a theatre an “opening night”
excuse, I have decided to let this one slide upon hearing that this performance
was their first and only tech rehearsal. Sanchez’s design left parts of the
stage in shadow with the intention of illuminating the performers in a specific
section. However, if you leave a shadow anywhere on the stage, an actor will
always manage to find it. I am confident the actors have learned to find their
light, and the other bobble of the houselights suddenly coming up during
“Carnival del Barrio” has been rectified. Abrenica had her work cut out for her
with 12 miced actors/singers and a live band, plus the occasional sound effect.
Except for one malfunctioning microphone, feedback during one song, and the
occasional delay in turning a microphone up as an actor entered and began
speaking or singing, sound was unnoticed- as it should be. Unfortunately, I was
seated near the back, and due to the (still daylight) 7:30pm start time of the
show and the venue utilizing curtains instead of doors into the lobby, lights
and sounds from the street at times interfere with the production. Between audience
members coming in late and the multiple entrances and exits by the cast via the
house, those curtains did not remain shut enough to block intruding light and
sound. The simply solution is to be early and grab a seat closer to the center.
However, when the show is sold out, as opening night was, a later start time and
an investment in thicker curtains and maybe even sliding doors would have been
appreciated so to block the lights from the lobby and the sounds from the
street.
Prop design was unaccredited, but the props master
should have provided water in the various coffee cups, glasses, and shot
glasses used throughout the show. One of my biggest pet peeves on the stage is
props that are “fake.” An empty prop looks empty and is treated as such by an actor.
Also, there is a scene where the national pride of the various Latino cultures
is displayed via the flags of such countries as Puerto Rico, Mexico, and
Venezuela. Sadly, the flags at times touch the floor. Actors and dancers
should, to the very best of their ability, treat each flag with absolute
respect and keep them off the floor. Despite these two instances, every
character had what he or she needed to move the storyline along without
cluttering the working space. The best addition was the dispatch microphone on
the counter at Rosario’s Car Service, one of the businesses on the block.
Costume design by Marcus Lopez was stunning in its
colorful simplicity and dedication to revealing each character beyond their
text. For example, during “Alabanza” which in this production became a funeral
of sorts for Abuela Claudia, each character wore the traditional black and yet
maintained who they were and where they were in their emotional storyline. Even
down to details such as shoes and messenger bags completed the feel of The
Heights. (Vanessa, played by Sarah Dickerson, performs the entire show in a
variety of heels and wedges that never once measured less than three inches
tall. She handled them with seasoned skill.)
In the Heights boasts a large cast, with arguably four leading characters, eight
supporting characters, and in this production, 14 ensemble members. There is
not a weak link in the cast, and each performer deserves individual attention
and praise.
As the narrator Usnavi,
local actor Matt Ransdell Jr simply shines. He embodies the character heart and
soul to the point you forget he is an actor putting on a performance. I saw
Lin-Manuel Miranda originate the role and his successor, Corbin Bleu both
perform Usnavi on Broadway. Ransdell surpassed those two performances. His
mastery of the fluid language and the transitions he made between narrator,
responsible shop owner and loving family member were as natural and believable
as breathing is for you and I. He also has enviable comedic timing, and though Usnavi is not a
dancer, Ransdell knew how to use movement to tell a story. This young man was
born to play this role, and I am deeply grateful I was there to experience his profoundly
memorable realization of a dream.
Lorens Portalatin is no
stranger to the ADLR stage, but in the role of Nina, a star was born.
Portalatin and I have worked together before, and she has become akin to a kid
sister to me. I have experienced her talent as an actor and a singer in
previous productions, but not until she emerged as Nina did I appreciate the
depth and scope of her abilities. Nina is el barrio’s college success story,
and the pressure threatens to crush her. Portalatin conveyed her fear, her
doubt, her anger, and her disappointment in herself before she ever uttered a
word- and THEN she SANG. Her voice was simultaneously powerful and vulnerable,
silvery and velvety, and she glided through her extensive range as a seasoned
concert professional- all without losing the emotional context of the moment. Portalatin
is coming into her own, much as Nina was.
Vanessa was played by the
dynamic Sarah Dickerson. Vanessa wants out of el barrio, but she just can’t
catch a break. There is also an unspoken romantic connection between her and
Usnavi. As previously mentioned, Dickerson handled her three inch heels and
miniskirts with ease along with the songs and the acting. Dickerson was a
powerhouse on the stage and force to be reckoned with vocally. It also helped
that she was believably cast as the “hot chica next door.”
Joshua Sherman is another
actor friend of mine, and this time he took on the role of Benny, the white kid
working for Nina’s parents. Sherman rapped, sang, danced, acted and he even
spoke Spanish to the point where my ginger-headed friend semi-disappeared and
Benny was born. Benny is the romantic interest of Nina, but he has to fight for
her because her father is less than approving. The song I started to shed tears
of joy in was Sherman’s performance of “Benny’s Dispatch.” Later, he had me
shedding tears of coinciding angst and hope as his character completed his
journey and new dreams were made in “The Sun Goes Down.”
Sonny, the goofy younger
cousin of Usnavi, was delightfully portrayed by Rashaun Sibley. Sibley provided
a lot of the laughs and gave Ransdell the contrast within which to play. Given
the caliber of the rest of the cast, it came as no surprise when Sibley
revealed he too can sing and dance, and at times, he even showcased his
emotional depth as an actor.
Pilar Ortiz as Abuela
(Grandmother) Claudia was gentle and humble as the long standing matriarch of
the block. As she made her way on and off the stage with some difficulty, I
wanted to scream at the boys in the bodega, “Ayuda tu Abuelita!” Both as young
actors and as their characters of young Latino men, they should not have left her
to maneuver stairs and ramps unassisted. Ortiz wrapped the neighborhood and the
audience in the warm love only a Grandma can offer. She was hard to understand
at times due to her accent and possibly a malfunctioning mic. When she sang, she was occasionally off key or
flat, and I saw her watching the musical director for pickup cues rather than
exuding confidence. But the audience loved her gentle and wise delivery, and
when she got the notes right (which was most of the times) it was beautiful.
The owners of Rosario’s Car
Service (across the street from Usnavi’s bodega) are Kevin and Camila Rosario,
played by Martin Antonio Guerra and Pamela Garcia Lanton. I ached for Mr. Rosario
during his agonizing song “Inutil (Useless).” He was believable as the
hardworking father who set high standards for himself and his family while
withholding his emotions until they threatened to consume him. Lanton as the
mom was a little stiff and jerky in the beginning, but she smoothed out and
later matched her husband (who was also a bit of a stuffed shirt.) The scenes
when they fought (as married couples do) over money and their daughter were
electrifying.
Amanda Williams was cast as
Daniela, the beauty salon owner and neighborhood gossip. Apparently, no one
told Williams Daniela is a minor character because she owned the stage and made
every word, every note and every movement count. She never once stepped out of
character as Daniela and was intriguing to watch, even when she was just “part of
the crowd” in a scene. Williams also found levels to Daniela who may at first
appear to be shallow, but in the end, she’s the beautician with a heart of
gold. And when Williams sang, she was seductively playful which wrapped the
audience around her voluptuous curves.
Carla is Daniela’s assistant
in the salon, and she was quirkily played by Natalie Coca. Sadly, we couldn’t
hear her over the band until the 2nd act when her microphone was
fixed or replaced. However, even without sound, she lit up the stage with
youthful exuberance and played well against the neighborhood diva Williams made
Daniela to be.
My favorite character in In the Heights is Piragua Guy, and so I
was surprised to see Michael Alonzo cast given his age. Piragua Guy is often
played by an older gentleman, but Adolfo went with a younger actor because, as
he later told me, he could hit the High A required in his song “Piragua” and it
allowed him to create a subtext storyline between he and Daniela. Piragua is a
frozen Puerto Rican dessert sold in a push cart, and so Piragua Guy must
compete with Mr. Softee, the mega ice cream truck chain found on every street
corner of New York. (I think these jokes were lost on the Fort Worth audience.)
Alonzo mastered his musical requirements with ease and added a light-hearted
vibe to the streets of Washington Heights.
Opening the show and giving
one of the more memorable moments at its conclusion was Michael Anthony
Sylvester as Graffiti Pete, and his solo in the shadows of early dawn with cans
of spray paint was some of the finest dancing I have seen on ANY stage in
Dallas in the last three years. Added to this was his high energy and total
commitment to the antics and reactions as the resident hoodlum. He lit the
stage on fire every time he stepped onto it and even the
audience when the choreography took him there.
Ensemble members, both
dancers and singers, include: Kevin Acosta, Austin Ray Beck, Jeremy Coca,
Jordan Ghanbari, Benicka Janae Grant, Gina Gwodz, Courtney Harris, Aigner
Mathis, Darren McElroy, Addie Morales, Mark Quach, Rebekah Ruiz, Maegan Marie
Stewart, and Rashard Turley. During intermission, I started making notes in my
program. I wrote the following: “Dancers- Whoa. Wow. Ow.” As previously
mentioned, they were allowed to shine without distracting, but if any audience
member found their eye or ear wondering, the ensemble did not disappoint. The
ensemble members were always in a specific character with their own story and
emotional arc. In addition, the dancing and singing sounded like a Broadway
cast, only with a little more heart- like underdogs fighting for what they
really want- and fewer equity points.
The partnering work in various songs was particularly exceptional. If
this seven (plus) page review has not convinced you to run see this show, allow
me to say this: “Carnival del Barrio” has sexy, hot and half- dressed male and
female dancers giving it their all as the sweat drips from their excess of
muscles. Audience members were seen dancing in their seats from the first row
to the last. I have purchased tickets to two additional shows with the express
intent of giving total focus to the storylines and actions of the ensemble for
which there is a wealth to absorb and appreciate.
Before the show even ended,
the opening night audience had jumped to its feet and was showering In the Heights with the loudest standing ovation ever heard at
Artes de la Rosa, perhaps the loudest I’ve ever heard in Fort Worth. As I made
my rounds during intermission and the after-party, audience members were not
just praising the production: they were gushing as they wiped away tears and fidgeted
with unexpressed physical excitement over the show. Accolades on social media
and texts continue to pour into Artes de la Rosa. There are a lot of local
shows getting good to great reviews right now, and good for them. But you gotta
get home to In the Heights before
it’s too late.
On a personal note: A few
years ago, I was cast in my VERY FIRST production as an actor. I was an
un-named ensemble member in a cast of 110. (I am fairly certain I was number 97
on the call sheet.) Guiding me through the process and explain some of the
interworking’s of the local theatre politics was Mrs. Ana Coca. During the
rehearsal process for that show, I announced I had been selected for a
conservatory program in New York. Mrs. Coca pulled me aside and told me about
this new musical that was winning all kinds of awards in New York. Something
about Heights. I will never forget what she said about the show. “You need to
see this show not just because it’s great but because of what it means for the
future of Latino and bilingual actors everywhere. It is going to change
Broadway. As a bilingual actor and as someone who works closely with Latino
theatres, this show needs you in the audience. I cannot wait for it to come
here on tour one day. Our Latinos need a show like this. Oh! And there are NO
maids or construction workers!” Needless to say, I bought a ticket as soon as I
got my student ID. (No, I’m not a Latino actor, just the resident gringa at a
few local Latino theatres.) Ever since, I have repeated her words to Latino
actors as opportunities to see or even just hear the musical have arisen. By
“coincidence”, I was chatting with my friend at the sensational opening night VIP
After Party for In the Heights when I
turned and saw Mrs. Coca wrangling some actors into a group shot. That’s when
it hit me- the two Cocas in the show were her children I had seen running
around the theater a few years earlier. The musical that meant so much to her
had finally found its way Home. So, should we sing “It’s a Small World After
All” or “Circle of Life?”
_______________________________________________________________________________
In the Heights runs through June 9th,
Fridays and Saturdays at 7:30 and Sundays at 3pm. $14-$25, general seating.
Tickets are available by calling 817-624-8333,
online at www.artesdelarosa.org, or in person at the box
office.
Artes de la Rosa Cultural Center for the Arts
is located at 1440 North Main Street, Fort Worth, TX 76164.
