In The Heights

Music Theatre aficionados keen to sample the work of Lin-Manuel Miranda, the creator of the Broadway block-buster Hamilton, can get a fabulous introduction to his talents by seeing the Tony Award winning musical he wrote a few years previous - In The Heights.

The pulsating rap rhythm of the opening and closing of this musical closely resembles the style of his current hit. Whereas he imposed a multi-racial perspective on the founding fathers by colour-blind casting in Hamilton, for this musical the subject is unashamedly and joyously multi-cultural. The musical reminded me of West Side Story as it focussed on the struggles of working class new Americans.

The central character of Nina is from a Puerto Rican background. She is returning home (to the suburb of Washington Heights in Manhattan) after dropping out of first year college.  Her parents run a small business and have struggled to send her to University. Breaking the news to them is extremely challenging.

The strength of this production was the vibrant dancing (choreographed by Alex Lewtas) and excellent band (musically directed by Wendy Anggerani).  The company nailed the pulsating rhythm of the music with rap, Latino and more traditional music theatre influences. Looking most in the groove in the dance department was Ibrahim Matar as Graffitti Pete who spun around the stage with a suitable swagger.

The Exclaim Theatre is made up of alumni of the Australian Institute of Music. They come from a range of ethnic backgrounds which suits this production. As the cast is predominantly made up of ‘20 somethings’ the younger characters are easier for them to cast.  Tammy Roxanne as Abuela Claudio had the biggest challenge playing someone fifty years older than her. She portrayed her character with warmth and sincerity, but of course didn’t look like an old woman.

The young romantic leads Benny (Julian Kuo) and Nina (Anne-Maree Caveco) had a natural chemistry together. Their first kiss was celebrated in style under 4^thof July Fireworks.  The other central character of Usnavi was portrayed passionately by Aaron Robuck.

The minimal set (designed by Lucy Malone and Scarlett McGrouther) comprised of milk crates stacked to resemble high rise buildings surrounded by lights. Combined with a shopfront that was wheeled on and off, it was an effective setting that gave pace to the scene changes.

This was a nicely directed production by Simeon Yialeloglou well worth a visit for a production unlikely to be ever staged fully professionally in Australia.

David Spicer.