In the Heights

The DMV just can’t get enough Heights, huh? Seems like just yesterday Olney dropped the one with original cast member Robin de Jesus (2017) and that 1st Stage won a slew of HHA’s last year for theirs. Not that we should complain. Lin-Manuel Miranda’s debut musical is a technicolor romp of great vibes and an infectious introduction to his signature rappy songwriting. Coupled with our region’s healthy amount of Latine performers, we’re bound for any production to be quite the ride. “But why leave it to chance?” said Signature, who’s big Spring musical project is the 2008 work.

The DMV just can’t get enough Heights10/10, huh? Seems like just yesterday Olney dropped the one with original cast member Robin de Jesus (2017) and that 1st Stage won a slew of HHA’s last year for theirs. Not that we should complain. Lin-Manuel Miranda’s debut musical is a technicolor romp of great vibes and an infectious introduction to his signature rappy songwriting. Coupled with our region’s healthy amount of Latine performers, we’re bound for any production to be quite the ride. “But why leave it to chance?” said Signature, who’s big Spring musical project is the 2008 work.

Bad news for Rayanne Gonzales’ haters: she continues to be one of the DMV’s most jubilant musical actresses, bringing even greater excitement and joy to this rendition of Abuela Claudia (a role she previously won a Hayes award for with Olney.) Her effortless magnetism brings the entire audience face-first into a big hug, seemingly being all of our Abuelas, not just that of the cast. Though it’s not like they needed the extra help: they’re largely excellent. Standing out above all of it is the incomparable Victoria Gomez as Nina. Gomez has floated around our Helen stages for a long time and it’s great to see her in a star turn here at Signature; we would be so lucky to get a Nina with such talent, and with such complimentary charisma to Chibueze Ihuoma’s Benny. Ihuoma is loose and brightly-sung, and himself even foils to the stiffer efforts of Angel Lozada (Usnavi), who I found approachable in demeanor but boxy in both movement and dialogue. Additionally, Nicolas Garza’s Sonny was spunky and full of rebellious wit; but seemingly older than the role would dictate, which distracted me at times.7/10

You know you’re in for something good when they bring out the diagonal thrust staging. In fact, Andrew Cohen’s entire design of it is commendable, and in classic Signature fashion, director James Vasquez has made large strides in creating immersion. The main staging area is a street corner that juts into the audience, and (as explained in the Viz section below) is superbly decorated to bring a vox urbana home. Rui Rita’s lighting ranges from “that’s pretty good” to “holy smokes”, especially in the Act I closer “Blackout”, which cleverly mixes the lights of old flip phones (it is 2008 after all) and sparkly, jewelly firework sparkles to illuminate the void. (And there’s a lot to illuminate between Ivania Stack’s pattering costumes and Shani Talmor’s hyper-directed choreography.)8/10

Key art has all been very firey and lush, heavily featuring dancers and the George Washington Bridge. To really drive the New Yorkiness up a notch, the entire street corner stage is flanked by fire escapes, worn out small business signs, and is set below street signs and traffic lights (oh, and a large scale model of the bridge). In a way, it’s very reminiscent of 2022’s immersive Guys & Dolls10/10 production at the UK’s bridge theatre, though with a specific Latin flair. And yes, it is exactly what one should expect from any production of this.