In The Heights
It’s back…the musical that caught us all off guard last year and has us gasping for breath. On a rainy Melbourne night we piled into the quaint St Kilda National theatre and managed to dry out in just a few minutes.
Last year I said “In The Heights is so hot it could burn you. It sizzles, it makes you gasp for air, it sets fire to all your misconceptions about little known musicals in small spaces, it burns the floor with fabulous dancing, and its energy is such that there are times you feel you cannot breathe. In short – it is Sensational!”
It’s still sensational. Though it loses a little of its “in your face” intimacy in the larger venue, it makes up for that with extra stage room for the fabulous dancing
The story is that of Latin Americans living in Washington Heights in NYC over two days, July 3rd and 4th, when the power goes out in the heatwave. That’s really all you need to know – the book is sharp, funny (“Does he dance?” “Like a drunk Chita Rivera”) and poignant. The music is infused with all the flavours of Latin America, and the energy levels in it make it impossible not to dance in your seat. It is brilliantly fused with Rap, and many of the songs are performed in rap style with Latin rhythms behind them.
The brilliant band, under Musical Director Cameron Thomas, never plays a note wrong – and special kudos to percussionist Lara Wilson. The set, by Merinda Backway, is a delight and makes maximum use of the space. Kate Sinclair’s costumes are perfect.
Marcello Lo Ricco’s sound design is spot on, though it was a little echoy at last night’s preview. Jason Bovaird’s lighting is stunning, as always. He has more to play with this time, and the fireworks scene is a triumph.
James Cutler , as director, has lovingly reworked his “baby” for the larger space and it is seamless. It isn’t simply how he blocks or works with the actors, it’s his deep understanding of the text and the characters. Phil Haddad has had the luxury of being able to open up Yvette Lee’s Broadway choreography with brilliant style, and that’s astonishing given the ethnic mix the show requires. If anything, a couple more people in the ensemble would have been an extra bonus.
The leads are all superb; even better than last time round if that’s possible. Stephen Lopez (Usnavi) is more assured, and his diction better. He’s a major force on stage. Anna Francesca Armenia is lovely; James Elmer gives Benny more depth this time round; Francesca Arena is sensational as always; Bianca Baykara just gets better with every show (surely she’s the perfect Princess Jasmine for Aladdin?); Laura Marucci is wonderfully sexy; Andrew Doyle is endearing as Sonny; Clarence Marshall, the irresistible Gareth Jacobs, Sarah Calsina and Bianca Bruce are all magnificent. And special mention of Peter Sette, the ultimate bboy, whose breaking and hiphop are now augmented with jazz and contemporary, plus his handling of dialogue (as Graffiti Pete) is a huge step up. The ensemble are all perfectly cast. In a cast of 21, there is not a single weak link anywhere – and these are great artists you don’t see starring on the main stage, more’s the pity.
In short, if you missed this last time round, now is the time to give yourself a treat; and if you saw it….see it again. It’s great musical theatre and there’s no such thing as too much of that.
Coral Drouyn
Photographer: Belinda Strodder.
Related Reading
Review of the 2015 season of In The Heights
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