As Hamilton returns to Sydney to sold-out crowds, another Lin-Manuel Miranda musical begins its season at the Drama Theatre of the Sydney Opera House. While certainly being a little rougher in its execution than Hamilton, In The Heights certainly has some things that its relative lacks. Set in Washington Heights, a primarily Hispanic neighbourhood in Manhattan, the musical gives an authentic account of life in the area and is filled to the brim with great and clever music. In a musical landscape where very few mainstream composers have the ability to meaningfully explore diverse perspectives, such a production is both refreshing and indeed, vital. 

Under the eye of Director Luke Joslin, the musical tells the story of a neighbourhood as well as the story of the migrant experience. This is a show about relationships and there are so many at play here including the story of Usnavi, the local bodega owner and his relationship with his junior, Sonny and Claudia, an Abuela who was a formidable part of his development. Then there is the story of Nina and her relationship with her parents, her lover Benny as well as the relationship between the hairdresser Daniela and her workers at the closing down salon. When the stories interwine is when this show is at its magical best, allowing audiences to revel in the melting-pot of humanity.

Ultimately, while there are some fantastic performances in this musical and the source material itself lifts the energy of the room, there can unfortunately be no denying that the singing, under the musical direction of Victoria Falconer is somewhat variable. Ryan Gonzalez starts off slightly timid as Usnavi but warms up to the role, to the point where they are a true highlight and close to the energy of Lin-Manuel Miranda at the end of the show.  Olivia Dacal gives quite a strong performance as Nina, showing off some beautiful vocals however, she struggles in the higher register which leads to some shrillness in Miranda’s challenging vocal score. Olivia Vásquez brings a lot of energy to the table as Vanessa but also suffers from some of the same issues as Dacal at times. The harmonies are also more than a little iffy. 

The vocal highlight by far is the performance of Lena Cruz as Abuela Claudia. Her voice is phenomenal and soars through the Drama Theatre, which is no mean feat given the acoustics of the space are not as conducive for musical theatre. Cruz brings an unmatched energy and passion to every moment that she is on stage, stealing every scene with charm that feeds off onto the rest of the audience. Her scenes with Gonzalez in particular are a treat to watch and the ovation for her at the end of the performance is richly deserved. 

Then, there is the dancing. And it is extraordinary in this production. While the singing falls flat at times, the dancing, choreographed by Amy Campbell, is upbeat and energetic for the whole performance. Special mention in particular must go to Steve Costi whose dancing was superlative throughout the production. Here, the dancing really lifts the production and by extension, the spirit of the audience. 

The acting is also largely strong and full of life but there are times where it feels a little stilted, as if the performers are not in complete cohesion. Even so, there are some moments of magic still, with Carnaval del Barrio led by Janet Dacal being especially well done. The interludes by Richard Valdez as the piragua stand owner are also fabulously entertaining and bring a smile to the faces of everyone in the audience. 

The set is charming and playful but, in the Drama Theatre which does not have a lot of space, the scene is a little cramped. This also restricts the ability to show off some of the fabulous dancing to its potential but overall, does not impede the enjoyment of the audience, with whom this performance resonates particularly well (even if the attendance is a little sparse). 

Overall, this is a charming show and one that needs to be told, especially on an Australian stage where diversity (both on and off stage) is slowly improving but still decidedly lacking. There are undoubtedly some rough edges to this show but it captures the charm and flavour of New York, which is really the most important thing. Perhaps this does not have the perfectly finessed quality of some of the other professional shows touring at the moment, but it certainly has the heart and ultimately, that is what the audience comes to see. 

Rating: ★★★★

In The Heights plays at the Drama Theatre, Sydney Opera House until 25^th August. For more information, click here. 

All photo credits: Daniel Boud