#1
Posted: 2/16/08 at 7:43pm
IN THE HEIGHTS has the potential to become the big hit of the season. It's leagues better than the three other musicals which have opened this season, Young Frankenstein, Little Mermaid, and Xanadu. The score is strong, the choreography is incredible, and the cast makes a good showing.
Unfortunately, the script is so mind-bogglingly pedestrian that you can't help but wonder what they spent the 6 months since the Off-Broadway production changing.
Usnavi (Lin-Manuel Miranda) owns the corner bodega, The Rosarios (a shockingly underused Priscilla Lopez and a strong Carlos Gomez) run the taxi company, and Carla and Daniela (wonderfully funny Andrea Burns and Janet Dacal) are the gossipy hens who run the beauty salon. Usnavi wants to go out with Vanessa (Karen Olivo). The Rosarios' daughter Nina (Mandy Gonzalez) has returned after dropping out of Stanford. She loves Benny (Christopher Jackson), but he's not "one of them." And then there's Abuela Claudia (Olga Meridez), who has won $96,000 in the lottery.
The story is simple enough, but Pulitzer-finalist Quiara Alegria Hudes' script is much too muddled. With Usnavi being the leading player, you'd imagine the show would be about his trying to woo Vanessa. Unfortunately, that takes the B-story slot, relegating Nina/Benny to the A-story. And while Mandy Gonzalez and Christopher Jackson make the sexiest coupling since Kelli O'Hara and Harry Connick, Jr., their story is too bland to be the lead.
You never know why her parents don't accept Benny (he's not Spanish, apparently, but, at least from where I was sitting, he doesn't look Caucasian, African-American, Asian, or American Indian.) The ending of the show, in fact, the whole denouement, is much too abrupt, and the life-altering resolution happens within too much of a blink of an eye. There's no real climax. Then again, there's no real story you're following.
It's a shame that they have to deal with this, especially since the score, choreography, and everything else is so fantastic. Lin-Manuel Miranda has crafted a mighty fine score that seemlessly blends traditional Broadway with rap, hip-hop, and R&B. Yeah, there are a few bland numbers, and a few others that need to be cut, but it's the best new Broadway score I've heard since Spring Awakening (which I've since decided is too generic for my tastes).
And Blankenbuehler's choreography is sure to net him many well deserved accolades, and I'll bet a Tony, as well. Fantastic dance numbers. Utterly brilliant.
The cast is quite good, as well. Lin-Manuel Miranda is an appealing and loveable leading player. As I've already stated, Mandy Gonzalez/Christopher Jackson and Priscilla Lopez/Carlos Gomez have wonderful chemistry and sound terrific. Too bad Lopez has nothing to do. Karen Olivo is bland. Burns/Dacal are delightful.
But the show belongs to Olga Merediz and Robin de Jesus. Merediz is beyond endearing, and her big number, "Paciencia y Fe," brings the house down. De Jesus, as Usnavi's cousin, the wannabe Macho, is Tony bait. And, if he plays his cards right, his tremendously enthusiastic performance could get him a trophy.
Design elements are all fantastically realistic. Anna Louizos is the master of City set design. Howell Binkley's lighting is attractive.
I blame director Thomas Kail's non-direction and librettist Quiara Alegria Hudes. They've turned what could be an excellent, fresh new musical into one that's merely very good.
Unfortunately, the script is so mind-bogglingly pedestrian that you can't help but wonder what they spent the 6 months since the Off-Broadway production changing.
Usnavi (Lin-Manuel Miranda) owns the corner bodega, The Rosarios (a shockingly underused Priscilla Lopez and a strong Carlos Gomez) run the taxi company, and Carla and Daniela (wonderfully funny Andrea Burns and Janet Dacal) are the gossipy hens who run the beauty salon. Usnavi wants to go out with Vanessa (Karen Olivo). The Rosarios' daughter Nina (Mandy Gonzalez) has returned after dropping out of Stanford. She loves Benny (Christopher Jackson), but he's not "one of them." And then there's Abuela Claudia (Olga Meridez), who has won $96,000 in the lottery.
The story is simple enough, but Pulitzer-finalist Quiara Alegria Hudes' script is much too muddled. With Usnavi being the leading player, you'd imagine the show would be about his trying to woo Vanessa. Unfortunately, that takes the B-story slot, relegating Nina/Benny to the A-story. And while Mandy Gonzalez and Christopher Jackson make the sexiest coupling since Kelli O'Hara and Harry Connick, Jr., their story is too bland to be the lead.
You never know why her parents don't accept Benny (he's not Spanish, apparently, but, at least from where I was sitting, he doesn't look Caucasian, African-American, Asian, or American Indian.) The ending of the show, in fact, the whole denouement, is much too abrupt, and the life-altering resolution happens within too much of a blink of an eye. There's no real climax. Then again, there's no real story you're following.
It's a shame that they have to deal with this, especially since the score, choreography, and everything else is so fantastic. Lin-Manuel Miranda has crafted a mighty fine score that seemlessly blends traditional Broadway with rap, hip-hop, and R&B. Yeah, there are a few bland numbers, and a few others that need to be cut, but it's the best new Broadway score I've heard since Spring Awakening (which I've since decided is too generic for my tastes).
And Blankenbuehler's choreography is sure to net him many well deserved accolades, and I'll bet a Tony, as well. Fantastic dance numbers. Utterly brilliant.
The cast is quite good, as well. Lin-Manuel Miranda is an appealing and loveable leading player. As I've already stated, Mandy Gonzalez/Christopher Jackson and Priscilla Lopez/Carlos Gomez have wonderful chemistry and sound terrific. Too bad Lopez has nothing to do. Karen Olivo is bland. Burns/Dacal are delightful.
But the show belongs to Olga Merediz and Robin de Jesus. Merediz is beyond endearing, and her big number, "Paciencia y Fe," brings the house down. De Jesus, as Usnavi's cousin, the wannabe Macho, is Tony bait. And, if he plays his cards right, his tremendously enthusiastic performance could get him a trophy.
Design elements are all fantastically realistic. Anna Louizos is the master of City set design. Howell Binkley's lighting is attractive.
I blame director Thomas Kail's non-direction and librettist Quiara Alegria Hudes. They've turned what could be an excellent, fresh new musical into one that's merely very good.
Updated On: 2/16/08 at 07:43 PM
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