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In the Heights
In the Heights
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In the Heights
Broadway promotional poster
MusicLin-Manuel Miranda
LyricsLin-Manuel Miranda
BookQuiara Alegría Hudes
Concept
  • Lin-Manuel Miranda
PremiereJuly 23, 2005: Eugene O'Neill Theater Center, Waterford, Connecticut
Productions2005 Waterford
2007 Off-Broadway
2008 Broadway
2009 US tour
2015 London
2022 Poland
AwardsTony Award for Best Musical
Tony Award for Best Original Score
Grammy Award for Best Musical Show Album
Laurence Olivier Award for Outstanding Achievement in Music
Obie Award

In the Heights is a musical with concept, music, and lyrics by Lin-Manuel Miranda and a book by Quiara Alegría Hudes. The story is a romance as well as a celebration of community, culture, and aspirations. It is set over the course of three days, involving characters in the largely Dominican American neighborhood of Washington Heights in Upper Manhattan, New York City. The score blends hip-hop, salsa, merengue, and soul.

After a 2005 tryout in Waterford, Connecticut and a 2007 Off-Broadway run, the show opened on Broadway in March 2008. It was nominated for thirteen Tony Awards and won four, including Best Musical. A film adaptation of the musical was released in June 2021.[1]

Synopsis

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Act 1

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As the sun rises on the hottest day of the summer, Usnavi de la Vega, the owner of a small bodega in Washington Heights, chases away a small-time vandal, Graffiti Pete, before introducing the audience to the corner he lives on and some of its many residents: Abuela Claudia, an elderly Cuban immigrant who raised Usnavi after the death of his parents; Sonny, Usnavi's younger cousin who works in the bodega; Daniela and Carla, who own the local salon; Kevin and Camila Rosario, a married couple who own the cab company; Benny, Usnavi's longtime best friend and an employee at the cab company; and Vanessa, an employee at the salon and aspiring fashion designer ("In the Heights").

As the day begins, the Rosarios' daughter, Nina, arrives home from her first year at Stanford University. Often considered the "one who made it out" and the pride of the corner, Nina dreads telling her parents and neighbors the truth of her return home: that she dropped out of Stanford because she had to work two jobs to maintain her tuition, leading to her getting poor grades and losing her scholarship ("Breathe"). As she tries to find her parents to tell them the news, she runs into Benny. Clearly harboring latent romantic feelings for one another, Benny and Nina reconnect ("Benny's Dispatch").

Elsewhere, Vanessa dreams of one day leaving the corner and getting an apartment in the West Village ("It Won't Be Long Now"). While she is on a break at the salon, Sonny asks her out on a date on Usnavi's behalf, and she accepts; Usnavi rejoices at his success, as he has been in love with Vanessa for years. However, he worries that Vanessa may forget about him and the rest of the community when she moves.

Nina reunites with her parents and is ultimately forced to reveal that she dropped out. Her parents are stunned at this revelation, as well as her dishonesty. Kevin grows devastated that he has been unable to provide for his family, fearing that he has continued the cycle started by his father, a poor tenant farmer ("Inútil"). Nina goes to the salon to seek comfort from Vanessa, but Daniela and Carla insist on giving Nina a makeover and subjecting her to their gossip about the happenings in the neighborhood, specifically regarding Benny and Usnavi. Daniela, Carla, and Vanessa then praise Nina and her successes. Nina reluctantly reveals to them that she dropped out, then leaves exasperatedly. ("No Me Diga").

As Usnavi closes up shop, he, Benny, Sonny, and Graffiti Pete discover that the bodega has sold a winning lottery ticket worth $96,000. The news gets out and the entire block begins to fantasize about what they would do if they had that much money ("96,000"). After the excitement dissipates, Abuela Claudia sits down to feed the birds and reminisces about her childhood in Cuba and her life in relative poverty, and the events that have led her to where she is today. She reveals that she holds the winning lottery ticket, and expresses gratitude for her patience and faith ("Paciencia y Fe").

Benny comforts Nina by walking with her and discussing their memories of growing up in the neighborhood. Nina expresses her doubts about her own self-worth to Benny, but he reassures her that she is destined for greatness ("When You're Home"). As they head to Nina's house for dinner, the local piragua merchant (referred to in the script as "Piragua Guy") pushes his food cart through the neighborhood, but all of his prospective customers would rather buy frozen treats from a nearby Mister Softee truck ("Piragua").

Kevin and Camila host Nina, Benny, Usnavi, Vanessa, and Abuela Claudia for dinner, where Kevin announces that he has sold the car service to pay for Nina's tuition. Nina and Camila are shocked. Benny, who had been dreaming of eventually managing the car service, is outraged and confronts Kevin over his decision. Kevin insists that Rosario's is a family business, and he does not consider Benny to be part of his family. Benny is furious and abruptly leaves. Nina, refusing to accept Kevin's money, follows Benny.

Usnavi soon arrives at a local nightclub for his date with Vanessa, but is overly nervous and aloof. Vanessa begins dancing with other men, aiming to make Usnavi jealous. In response, Usnavi dances with another woman as an attempt to make Vanessa jealous. Nina follows Benny to the club to apologize for Kevin's decision. Benny, already drunk, angrily brushes her off. Tensions rise in the club as the two couples cope with their own jealousy, culminating in Benny punching a man dancing with Nina, causing a fight to break out ("The Club"). Suddenly, the power goes out throughout the city as a result of the intense heat and humidity. The neighborhood descends into chaos as Usnavi and Vanessa, as well as Benny and Nina, desperately try to find their way back to one another. Sonny and Graffiti Pete, fearing looters, set off fireworks to distract potential robbers as well as to light everyone else's way home. Usnavi reunites with Abuela Claudia, who reveals her lottery ticket to him. Benny and Nina find each other amid the chaos, and despite initially arguing, they finally kiss ("Blackout").

Act 2

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Kevin spends the night searching for Nina, who is spending the night with Benny in Benny's apartment. Benny worries about whether Kevin will approve of him dating Nina, but is happy to spend time with Nina regardless ("Sunrise"). Usnavi's bodega has been robbed. Usnavi convenes with Abuela Claudia to discuss what will happen with the money. Abuela Claudia decides to give Sonny and Usnavi each a third of the money and urges Usnavi to use his money to achieve his lifelong dream of returning to his home in the Dominican Republic. While Usnavi shares some doubts, he eventually decides to go ("Hundreds of Stories"). Nina eventually returns home, and discovers her parents have been frantically searching for her. Kevin grows furious when he learns Nina was with Benny and disapproves of their relationship, partially because he wants Nina to date a Latino man, which Benny is not. Nina and Kevin loudly argue before Camila intervenes, criticizing Kevin for throwing Benny out and Nina for not coming home. She urges them to come together and work things out as a family ("Enough").

As the neighborhood copes with their frustration over the heat and blackout, Daniela urges them to dispel the negativity and muster up enough energy for a neighborhood celebration. Daniela leads the crowd in playfully teasing Vanessa for not realizing Usnavi's feelings for her, and Benny for his tryst with Nina the previous night. Usnavi arrives and announces that Abuela Claudia had won the lottery, and that he has booked a flight for the Dominican Republic, which will leave the following day. Vanessa is visibly upset by the news of Usnavi's impending departure. Sonny is upset by that news and the news of Nina's relationship with Benny, as Sonny had a crush on Nina himself. Usnavi calms Sonny down by revealing that he and Abuela Claudia are giving him third of the lottery winnings. Usnavi encourages the neighborhood residents to celebrate before everything changes ("Carnaval del Barrio").

During the celebration, Nina arrives and pulls Usnavi offstage. Kevin makes an announcement over the dispatch: Abuela Claudia has suddenly died ("Atención"). Usnavi holds an impromptu memorial for Abuela Claudia, revealing that she died of "a combination of the stress and heat," and Nina leads the entire block in mourning Abuela Claudia ("Alabanza"). Afterward, Usnavi and Nina go through Abuela's old photographs to reminisce. Nina begins to remember the central role Abuela Claudia played in her education and motivation, and in memory of Abuela, she resolves to accept her parents' money and give college another try, returning to Stanford at the end of the summer ("Everything I Know"). As Vanessa prepares to move out, Daniela gives her a final piece of news: Usnavi convinced Daniela to cosign Vanessa's lease for her new apartment ("No Me Diga (Reprise)"). As the blackout continues, many neighborhood residents patronize the Piragua Guy, partially because the Mister Softee truck broke down; the Piragua Guy is overjoyed to finally have good business ("Piragua (Reprise)").

Overwhelmed by his kind act, Vanessa visits Usnavi as he cleans up the bodega. She flirts with him and offers him a bottle of champagne. She quietly suggests to him that he should stay in the neighborhood, saying that if he leaves, she will never see him again. Usnavi, overwhelmed, firmly decides to leave. Vanessa kisses him, lamenting that she was too late in realizing her feelings for him ("Champagne"). As Nina tells Benny of her decision, they agree to spend the summer together before pursuing a long-distance relationship when she returns to school; Benny reaffirms his faith in her, and they promise to keep contacting each other ("When The Sun Goes Down"). Benny confronts Kevin for a final time, insisting that he was always there for him while Kevin never did the same. As the night winds down, Sonny approaches Graffiti Pete with a secret proposition, which Pete accepts.

The next morning, the neighborhood has visibly changed: the car service sign over the Rosarios' building has been removed, and the grate in front of the bodega is still open. As Usnavi listens to Abuela Claudia's old records, he accepts that the neighborhood has changed and wonders if any of his neighbors in Washington Heights will miss him after he leaves. Sonny approaches Usnavi and, having fixed the bodega's grate, pulls it down, revealing a graffiti mural of Abuela Claudia painted by Pete. Seeing the mural, Usnavi has an epiphany and tells Sonny and Pete to inform the neighborhood that he is not leaving. As he reflects on his role as the neighborhood's storyteller, Usnavi ponders a potential future with Vanessa, declares he will commit himself to protecting the legacy of his family (as well as Abuela Claudia), and accepts Washington Heights as his true home ("Finale").

Musical numbers

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† Designates number not included on the original cast recording

Characters

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  • Usnavi de la Vega is the narrator of the musical's exposition and a major character throughout; he is the owner of a small bodega in Washington Heights called De La Vega Bodega. He was originally played by Lin-Manuel Miranda, songwriter of the musical. He was named after one of the first sights his parents saw when they arrived in America, a ship with the sign "US Navy" on it. Abuela Claudia, the neighborhood matriarch, "practically raised" him when his parents both died during his early childhood. He dreams of moving to the Dominican Republic. He is in love with Vanessa.
  • Nina Rosario is an intelligent girl, and the first in her family to go to college (Stanford University), and everyone in the barrio admires her as the "one who made it out." However, she returns home from school for the summer to reluctantly tell her parents that she has become overburdened and dropped out. She is the typical "good girl" and always got along with her parents. Upon arriving back home, though, she loses patience constantly over her father's overprotectiveness and his refusal to accept Benny, with whom she gets into a romantic relationship.
  • Benny works at the dispatch of Nina's father, Kevin. The only character in the play who does not speak Spanish, Benny falls in love with Nina. He dreams of opening his own business.
  • Vanessa García is Usnavi's love interest who works at Daniela's salon. She is stunningly beautiful and catches the eye of every guy in the Heights; however, she takes interest in Usnavi. She lives with an alcoholic mother and dreams of getting out of the barrio and getting an apartment downtown but cannot yet afford it.
  • Abuela Claudia (“abuela" means "grandmother" in Spanish) is the loving matriarch of the barrio who is like a grandmother to all. She is the one who looked after Usnavi when his parents died. She and her mother moved from Cuba to New York in 1943 while she was a child. She worked as a maid for several years but never earned the money for her and her mother to travel home.
  • Sonny de la Vega is Usnavi's younger cousin who works with Usnavi in the bodega. He is a jokester, and has an intelligent and thoughtful side that yearns for social justice.
  • Daniela is the owner of the salon where the neighborhood girls come to gossip. She is very bold and loud and loves to banter.
  • Carla works at Daniela's salon along with Vanessa, and is Daniela's close friend; young and pretty, but a little slow to get the others' jokes and innuendos, she is of Chilean, Cuban, Dominican, and Puerto Rican descent.
  • Kevin Rosario is Nina's overprotective father, who, coming from a long line of farmers, has worked hard to resist following in his own father's footsteps. He now owns his own taxi cab service: Rosario's.
  • Camila Rosario is Nina's strong-willed mother, who wants what is best for Nina. She is typically tolerant of Kevin's control issues, but in the course of the show, reveals her real feelings.
  • Piragua Guy (Piragüero) is the owner of a small piragua stand that competes with Mister Softee.
  • Graffiti Pete is a graffiti artist. He is good friends with Sonny and is one of the few characters who acknowledge Sonny's dreams. Usnavi believes Pete is a trouble-making vandal (constantly referring to him as a 'punk'), until Pete reveals his amazing skills as an artist.

Cast and characters

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Character Connecticut Off-Broadway Broadway First US tour[2] West End[3] Kennedy Center[4]
2005 2007 2008 2009 2015 2018
Usnavi De La Vega Javier Muñoz Lin-Manuel Miranda Kyle Beltran Sam Mackay Anthony Ramos
Nina Rosario Natalie Cortez Mandy Gonzalez Arielle Jacobs Lily Frazer Ana Villafañe
Benny Christopher Jackson Rogelio Douglas Jr. Joe Aaron Reid J. Quinton Johnson
Vanessa Sheena Marie Ortiz Karen Olivo Yvette González-Nacer Jade Ewen Vanessa Hudgens
Abuela Claudia Doreen Montalvo Olga Merediz Elise Santora Eve Polycarpou Saundra Santiago
Kevin Rosario Rick Negron John Herrera Carlos Gómez Danny Bolero David Bedella Rick Negron
Camila Rosario Nancy Ticotin Priscilla Lopez Natalie Toro Josie Benson Blanca Camacho
Sonny Robin de Jesús Shaun Taylor-Corbett Cleve September Mateo Ferro
Daniela Monica Salazar Andréa Burns Isabel Santiago Victoria Hamilton-Barritt Eden Espinosa
Carla Janet Dacal Genny Lis Padilla Sarah Naudi Arianna Rosario
Graffiti Pete Matt Saldivar Seth Stewart Jose-Luis Lopez Antoine Murray-Straughan Virgil Gadson
Piragüero (Piragua Guy) Eliseo Román David Baida Vas Constanti Eliseo Roman

Notable Broadway replacements

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Notable US tour replacements

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Notable West End replacements

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Background

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Miranda wrote the earliest draft of In the Heights in 1999 during his sophomore year of college. After the show was accepted by Wesleyan University's student theater company Second Stage, Miranda added "freestyle rap ... bodegas, and salsa numbers."[5] It played from April 27 to 29, 2000, as an 80-minute, one-act show that reportedly sounded like "A hip-hop version of Rent".[6] After seeing the play, two Wesleyan seniors and two alumni, John Buffalo Mailer, Neil Patrick Stewart, Anthony Veneziale and Thomas Kail, approached Miranda and asked if the play could be expanded with a view to a Broadway production. Miranda started working with director Kail in 2002 and wrote five separate drafts of In the Heights.[7] Book writer Quiara Alegría Hudes joined the team in 2004.[8]

Productions

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Connecticut (2005) and off-Broadway (2007) tryouts

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A new version of In the Heights was presented at the National Music Theater Conference at the Eugene O'Neill Theater Center in Waterford, Connecticut between July 23 and July 31, 2005, directed by Thomas Kail and with music director Alex Lacamoire.[9][10] The cast featured Natalie Cortez, Janet Dacal, Robin de Jesús, Huey Dunbar, Christopher Jackson, Doreen Montalvo, Javier Muñoz, Rick Negron, Sheena Marie Ortiz, Matt Saldivar, Monica Salazar, and Nancy Ticotin[11]

The musical then opened at the 37 Arts Theater off-Broadway, running from February 8, 2007, through July 15, 2007. Directed by Thomas Kail, with choreography by Andy Blankenbuehler and music direction by Alex Lacamoire, it was produced by Jill Furman, Kevin McCollum, Jeffrey Seller and Sander Jacobs. The off-Broadway production was nominated for nine Drama Desk Awards, winning two, as well as winning the Outer Critics' Circle Award for Outstanding Musical.[12]

Broadway (2008–2011)

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The musical premiered on Broadway, starting in previews on February 14, 2008,[12] with an official opening on March 9, 2008, at the Richard Rodgers Theatre. The Broadway production was again directed and choreographed by Kail and Blankenbuehler, with most of the off-Broadway principals reprising their roles. The creative team included set design by Anna Louizos, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Acme Sound Partners, arrangements and orchestrations by Alex Lacamoire and Bill Sherman, and music coordination by Michael Keller.

The producers announced on January 8, 2009, that the show had recouped its $10 million investment after 10 months.[13] The cast recording was released on June 3, 2008, by Ghostlight Records and won the Grammy Award for Best Musical Show Album, beating the recordings of The Little Mermaid, Young Frankenstein, and the revivals of Gypsy and South Pacific. The Broadway production celebrated its 1000th performance on August 2, 2010.[14]

The Broadway production closed on January 9, 2011, after 29 previews and 1,184 regular performances.[15][16] The final cast included Lin-Manuel Miranda, Arielle Jacobs, Marcy Harriell, Shaun Taylor-Corbett, Olga Merediz, Andréa Burns, Christopher Jackson, Tony Chriroldes, Priscilla Lopez, and Jon Rua (understudy for the roles of Usnavi and Sonny for most of 2010).[17]

North American tour (2009–2011)

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The first national tour of In the Heights began on October 27, 2009, in Tampa, Florida.[18] The musical ran in San Juan, Puerto Rico in November 2010, the first time an Equity tour has played in the city. Librettist Hudes and songwriter-star Miranda are both of Puerto Rican descent. Miranda played this engagement.[19] The tour closed on April 3, 2011, at the Adrienne Arsht Center for the Performing Arts in Miami, Florida.[20] At the time of its closing, the tour starred Joseph Morales as Usnavi.[21]

Manila, Philippines (2011)

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The international premiere ran in Manila, Philippines, from September 2 to 18, 2011. The new production was directed by Bobby Garcia and starred Nyoy Volante as Usnavi, Ima Castro as Vanessa, K-La Rivera as Nina Rosario, Felix Rivera as Benny, Calvin Millado as Kevin Rosario, Jackie Lou Blanco as Camila Rosario, Tex Ordoñez as Daniela, Tanya Manalang as Carla, Bibo Reyes as Sonny, and Jay Glorioso as Abuela Claudia.[22] The show had a repeat run in March 2012.[23]

Non-Equity US tour (2011–2012)

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A non-Equity United States national tour of In the Heights ran from October 17, 2011, until June 2012.[24][25][26] The tour played in Chicago in January 2012, with Virginia Cavaliere as Nina, Presilah Nunez as Vanessa, Kyle Carter as Benny, and Perry Young as Usnavi.[27]

Panama City, Panama (2013) and São Paulo, Brazil (2014)

[edit]

In Panama, In The Heights was performed by Instituto Alberto Einstein's student body from June 20 to June 25, notable performances by Valerie Cohen, Isidoro Cherem and Alegrita Angel, acting was made entirely in Spanish and songs sang in their original lyrics. Carnaval del Barrio (In the Heights) was staged at the famed Teatro en Círculo, from the October 3 to 31, 2013, produced by Top Line Events and directed by Aaron Zebede, who also adapted the book and songs to Spanglish. Jose "Pepe" Casis was the musical director, who also played the part of Piragua Guy.[28]

The Brazilian premiere of Nas Alturas was staged at Teatro Bradesco from April 17 until May 25, 2014. The cast featured Myra Ruiz (Nina), Ricardo Marques (Benny), Mauro Gorini (Kevin), Germana Guilherme (Camila), Renata Brás (Daniela), Milena Martines (Carla), Lola Fanucchi (Vanessa), Thiago Vianna (Graffiti) and Rafael Dantas (Piragua Guy).

Off-West End, United Kingdom (2014)

[edit]

The UK premiere of In The Heights was staged at Southwark Playhouse from 9 May until June 7, 2014. The cast featured Sam Mackay as Usnavi, Christina Modestou as Nina, Emma Kingston as Vanessa, David Bedella as Kevin Rosario and Victoria Hamilton-Barritt as Daniela, with direction by Luke Sheppard and costumes by Gabriella Slade.[29]

Tokyo, Japan (2014)

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The Japanese premiere played in Bunkamura's Theatre Cocoon from April 9 until April 20, 2014, and featured Yuya Matsushita, Ayaka Umeda, Chihiro Otsuka, and Motomu Azaki, among others.[30]

Melbourne, Australia (2015)

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The Australian premiere of In The Heights, produced by StageArt, opened at Chapel Off Chapel on Feb 20 and ran for a short season of 21 shows, closing on March 8. Directed by James Cutler, Musical Direction by Cameron Thomas and choreographed by Yvette Lee, Starring Stephen Lopez in the lead role of Usnavi. The show received overwhelming critical acclaim.[citation needed]

London return (2015–2017)

[edit]
Poster for the 2015 London production

In the Heights transferred to the King's Cross theatre, London on October 3, 2015.[31] The production was directed by Luke Sheppard, choreographed by Drew McOnie with musical supervision by Tom Deering. The production was nominated for four awards at the 2016 Olivier Awards: Best New Musical, Best Theatre Choreographer (Drew McOnie), Outstanding Achievement in Music and Best Actor in a Supporting Role in a Musical (David Bedella).[32] The performance of the production at the Olivier Awards was introduced by Jonathan Groff, in character as King George from Miranda's musical Hamilton.[33] Following the end of his run in Hamilton, composer Lin-Manuel Miranda made a surprise visit to the production on September 4, 2016, while he was in London working on Mary Poppins Returns.[34] The production closed on January 8, 2017, after a hugely successful run; with several extensions from its initial 4 month limited run.[35] The final show was concluded with speeches by actor Sam Mackay and producer Paul Taylor Mills, and a surprise appearance by Lin-Manuel Miranda.[36]

Vancouver, Canada and Seoul, South Korea (2015)

[edit]

The Canadian premiere of In the Heights, produced by The Arts Club, opened at the Stanley Industrial Alliance Stage on May 6, 2015. Directed by Bill Millerd with co-direction and choreography by Lisa Stevens and musical direction by Ken Cormier. The cast featured Luc Roderique as Usnavi, Elena Juatco as Vanessa, Kate Blackburn as Nina, Chris Sams as Benny, Sharon Crandall as Abuela Claudia, Caleb Di Pomponio as Sonny, Francisco Trujillo as Kevin, Caitriona Murphy as Camila, Irene Karas Loeper as Daniela, Julia Harnett as Carla, Michael Culp as Graffiti Pete and Michael Antonakos as Piragua Guy.

The South Korean production opened in the Samsung Card Hall, Blue Square, Seoul on September 4, 2015. The production was scheduled to star numerous K-pop and hip hop musicians including Jeong Won-young, Yang Dong-geun, Jang Dongwoo of Infinite, and Key from Shinee as Usnavi, Seo Kyeong-su, Kim Sung-kyu of Infinite, and Chen from EXO as Benny, and Kim Bo-kyeong, Luna of f(x) as Nina.[37]

Lima, Peru (2016)

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Los Productores presented In the Heights during the first months of 2016. The premiere took place on January 20, 2016, at Luigi Pirandello Theater. The composition of the cast does not match those characteristics that the original work proposed. While the original work proposed racial diversity as an essential feature, the Peruvian version has a cast composed mainly of actors with white ancestry and not one single actor with Indigenous background.[38] Gisela Ponce de León, a member of the cast, said, "Peruvians are experts in self-managed racism."[39]

Lohne, Germany (2016)

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The first ever German performance took place in May and June 2016 in Lohne and was an amateur production by the local high school. The musical was translated by Laura Friedrich Tejero and directed by Rainer Eschner and Stefan Middendorf.[40]

US Spanish Premiere (2017)

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Directed and choreographed by Luis Salgado, a member of the original Broadway Cast, and Assistant Latin Choreographer to Mr. Blankenbuehler, and presented by GALA Hispanic Theater, In The Heights had its Spanish Premiere in the US in April 2017. While Spanish-language versions of In the Heights have been produced in Latin America, this production is distinctive for several reasons: It is the first Spanish version of the show in the United States, it is the first Spanish translation sanctioned and approved by Lin-Manuel Miranda, and it is directed and choreographed by Luis Salgado, Assistant Latin Choreographer on the original Broadway production of In the Heights.[41] The production included lyrics and scenes in Spanish, with elements from the original English, as well as an English anchor through the character of Benny. The production offered English and Spanish subtitles.

The production combined a varied Spanish speaking cast from countries including the Dominican Republic, Venezuela, Spain, Colombia, Peru, Mexico, Puerto Rico, Switzerland and the USA. It starred Juan Luis Espinal (Usnavi), Verónica Álvarez Robles (Vanessa), Laura Lebrón (Nina), Vaugh Midder (Benny), Scheherazade Quiroga (Daniela), Shadia Fairuz (Camila), Rafael Beato (Sonny), Michelle Ríos (Abuela Claudia), José Fernando Capellán (Kevin), Gabriella Pérez (Carla), Myriam Gadri (Graffity Pete) and Felix Marchany (Piragua Guy). The ensemble included: Ximena Salgado, Melinette Pallares, Natalia Raigosa, Amaya Perea, Aaron Cobos, José Ozuna and Hector Flores. The production garnered 18 nominations to the 2018 Helen Hayes Awards (the DC equivalent to the Tony Awards), more than any other DC production in the season,[42] including Best Musical, Best Ensemble, Best Director, Best Choreography, Best Actor, Best Actress, Best Supporting Actress and Best Supporting Actor among others.[43]

Nyborg, Denmark (2018)

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The first ever Nordic performance took place in January and February 2018 at Bastionen theatre in Nyborg, Denmark. It was an amateur production by the Musical Talent School of Nyborg. It was translated into Danish and directed by Jesper Nielsen.[44]

Saltillo, Mexico (2019)

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The musical premiered in May 2019, in Teatro Fernando Soler. It was a semi-professional production in Spanish directed by Saul Martínez and produced by Cuarta Pared Teatro.[45]

New Orleans, Louisiana, U.S.A., Regional Premiere (October 7–16, 2022)

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Produced by the Jefferson Performing Arts Society, directed and choreographed by Michelle Pietri with Assistant Choreographer AJ Hernandez, In The Heights had its Regional Premiere in The Jefferson Performing Arts Center on October 7, 2022. Maestro Dennis Assaf conducted The Jefferson Performing Arts Society Pit Orchestra.

The Scenic Designer was Eric Porter, the Lighting Designer was Jonathan Michael Gonzales and the Sound Designer was Kage Laney. The Wigs and Makeup Designer was Amanda Bravender, the Costume Designer was Arturo Hernandez Jr., and the Props Designer was Olivia Winter. Mona Naswari was the Stage Manager.

The production combined a varied Spanish speaking cast from countries including the Dominican Republic, Venezuela, Colombia, Peru, Mexico, Puerto Rico, and Cuba. It starred Alcee Jones (Usnavi), Gia Martinez (Vanessa), Kelly Laines (Nina), Neal Eli (Benny), Skylar Broussard (Daniela), Elizabeth Lowry (Camila), Claudio Venancio (Sonny), Elana Polin (Abuela Claudia), Paul Bello (Kevin), Rachel Carter (Carla), Clarence Smith (Graffity Pete) and Adriel Aviles (Piragua Guy). The ensemble included: Gabriella Vazquez Harlamert (Dance Captain), Aubry Snipes, Graciela Gonzales, Aaliyah Thompson, Alejandra Dollis, Shiquita Brooks, Yorkel Ballesteros, David Hidalgo, Cal Desmith, Fransheska Peña, Joshua "Juice" Hernandez, AJ Hernandez, Aleyla Ybarra, Sophia Christilles and Stefan Armando Hernandez-San Martin.

Koszalin, Poland (2022)

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The first ever Polish performance directed by Kacper Wojcieszek took place on 24 September 2022 in Koszalin's Musical Theater "Adria" (Teatr Muzyczny Adria).[46]

Awards and nominations

[edit]

Original Off-Broadway production

[edit]
Year Award Ceremony Category Nominee Result
2007 Drama Desk Award Outstanding Musical Nominated
Outstanding Ensemble Performance Won
Outstanding Director of a Musical Thomas Kail Nominated
Outstanding Choreography Andy Blankenbuehler Won
Outstanding Music Lin-Manuel Miranda Nominated
Outstanding Lyrics Nominated
Outstanding Orchestrations Alex Lacamoire and Bill Sherman Nominated
Outstanding Set Design Anna Louizos Nominated
Outstanding Sound Design Acme Sound Partners Nominated
Clarence Derwent Award Most Promising Male Performer Lin-Manuel Miranda Won

Original Broadway production

[edit]
Year Award Ceremony Category Nominee Result
2008 Tony Award Best Musical Won
Best Book of a Musical Quiara Alegría Hudes Nominated
Best Original Score Lin-Manuel Miranda Won
Best Actor in a Musical Nominated
Best Featured Actor in a Musical Robin de Jesús Nominated
Best Featured Actress in a Musical Olga Merediz Nominated
Best Direction of a Musical Thomas Kail Nominated
Best Choreography Andy Blankenbuehler Won
Best Orchestrations Alex Lacamoire and Bill Sherman Won
Best Scenic Design Anna Louizos Nominated
Best Costume Design Paul Tazewell Nominated
Best Lighting Design Howell Binkley Nominated
Best Sound Design Acme Sound Partners Nominated
Grammy Award Best Musical Show Album Won
2009 Pulitzer Prize for Drama Finalist

Original West End production

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Year Award Ceremony Category Nominee Result
2016 Laurence Olivier Awards Best New Musical Nominated
Best Actor in a Supporting Role in a Musical David Bedella Won
Best Theatre Choreographer Drew McOnie Won
Outstanding Achievement in Music Lin-Manuel Miranda Won
2016 WhatsOnStage Awards Best New Musical Nominated
Best Actor in a Musical Sam Mackay Nominated
Best Actress in a Musical Lily Frazer Nominated
Best Supporting Actor in a Musical David Bedella Won
Best Supporting Actress in a Musical Victoria Hamilton-Barritt Nominated
Best Direction Luke Sheppard Nominated
Best Choreography Drew McOnie Nominated
Best Set Design Takis Nominated
Best Lighting Design Howard Hudson Nominated

Reception

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The reviews for the show were positive to mixed (the median grade of 9 major reviews was "B+").[47] Charles Isherwood's review in The New York Times said that "when this musical erupts in one of its expressions of collective joy, the energy it gives off could light up the George Washington Bridge for a year or two."[48] Heather Bing of The Cleveland Plain Dealer wrote, "Although I was sometimes struggling to keep up with the hip-hop and Spanish-infused lyrics, the exciting set and choreography paired with excellent acting held my interest in the storyline."[49] David Rooney's Variety review said, "That depth of feeling, together with the wit of Miranda's lyrics, the playful dexterity of his rhymes, his dynamic score and a bunch of truly winning performances, make the show an uncalculated charmer."[50]

Hudes' book received mixed reviews. Charles McNulty's The Los Angeles Times review mentioned that "the downside to In the Heights is the book...which is overstuffed and oversimplified."[51] The New York Post's Clive Barnes also gave negative comments about the book, saying that "Hudes' work is droopily sentimental and untruthful."[52] Joe Dziemianowicz of the NY Daily News also disliked the book, but added that "what it lacks in story and believability it makes up for in a vibrant rap- and salsa-flavored score, spirited dances, and great-looking design."[53]

Documentary

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On May 27, 2009, PBS' Great Performances aired an episode entitled In the Heights: Chasing Broadway Dreams. It documents the journey taken by the cast and crew to bring the show to Broadway and to later win the Tony Award for Best Musical.[54] Producer Andrew Fried and director Paul Bozymowski captured footage of the cast and creative team for over two years, from the off-Broadway production to their Tony Award wins. The special previewed at the Paley Center for Media in New York on May 4, 2009.[55]

Film adaptation

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In November 2008, Universal Pictures announced that they had acquired the rights to adapt the musical as a feature film for release in 2011.[56][57] Kenny Ortega was set to direct it, and Quiara Alegría Hudes would write the screenplay.[58][59] However, Universal opted not to develop the film, and the project was canceled.[60] In January 2012, Lin-Manuel Miranda said the adaptation was back under discussion.[61]

In May 2016, it was announced that The Weinstein Company would distribute the film.[62] The following month, it was reported that Jon M. Chu was in talks to direct.[63] In September 2016, Chu was confirmed as director, with production potentially beginning in spring 2017. Lin-Manuel Miranda said he would not return as Usnavi, the role he originated, but could return in another role.[64]

In October 2017, Hudes revealed that she had asked The Weinstein Company to permit her to take the production elsewhere, in light of the Harvey Weinstein sexual abuse allegations.[65] In April 2018, the film rights reverted to Miranda and Hudes.[66] In May 2018, Warner Bros. Pictures acquired the film rights in a $50 million deal after a bidding war with several other studios.[67] Warner Bros. originally set a release date of June 26, 2020.[68] In October 2018, Anthony Ramos was cast as Usnavi.[69] In January 2019, Corey Hawkins was cast as Benny.[70] In April 2019, Jimmy Smits was cast as Kevin,[71] Leslie Grace as Nina, Melissa Barrera as Vanessa,[72] Stephanie Beatriz as Carla, Olga Merediz as Abuela Claudia (reprising her Tony nominated role from the original Broadway cast), Gregory Diaz IV as Sonny, Daphne Rubin-Vega (who did one of the radio voices in the original Broadway production) as Daniela, Lin-Manuel Miranda as Piragua Guy, and Dascha Polanco as Cuca.

Filming began on June 3, 2019, in New York.[73][74] A teaser trailer was released on December 11, 2019, followed by a full trailer the next day.[75][76] The film was scheduled to be released on June 26, 2020, in the United States, and on August 7, 2020, in the United Kingdom.[77] However, it was delayed to June 10, 2021, due to the COVID-19 pandemic.[78] The film had an opening weekend box office of $11.5 million worldwide.[79]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
is an American musical with music and lyrics by Lin-Manuel Miranda and a book by Quiara Alegría Hudes, centered on three days in the lives of Dominican-American and other Latino residents of the Washington Heights neighborhood in New York City amid a summer heat wave and blackout. The production premiered off-Broadway in 2005 before transferring to Broadway at the Richard Rodgers Theatre, where it opened on March 9, 2008, and ran for 1,166 performances until January 9, 2011. It received 13 Tony Award nominations in 2008, winning four including Best Musical, Best Original Score, Best Choreography, and Best Orchestrations, marking Miranda's breakthrough as a composer. A 2021 film adaptation directed by Jon M. Chu expanded the story's reach but drew criticism for underrepresenting Afro-Latino actors in principal roles, sparking debates on colorism within Latino casting.

Synopsis

Act One

The musical opens on a sweltering summer morning in Washington Heights, a predominantly Latino neighborhood in , where owner Usnavi de la Vega awakens early to open his small corner store, greeting regular customers and reflecting on the community's daily rhythms amid rising rents and economic pressures. Usnavi, orphaned and raised partly by the neighborhood's matriarch Abuela Claudia, expresses his longing to sell the and return to his native to reclaim his late parents' beachside business. His young cousin assists at the , handling informal loans and flirting with customers, while Usnavi pines for Vanessa, a salon employee aspiring to break into the fashion industry downtown. As the heatwave intensifies over the first two days (July 3–4), Nina Rosario returns from her first year at , initially celebrated by friends and family but soon confiding her academic struggles and lost to salon owner Daniela and coworker Vanessa, highlighting the burdens of familial expectations. Nina's parents, and Camila, operate a struggling dispatch service where , an African-American friend and coworker, handles calls and harbors a romance with Nina despite 's disapproval rooted in cultural and class differences. Tensions simmer as seeks a to expand the business, mirroring broader immigrant entrepreneurial challenges, while Abuela Claudia reveals she holds a winning $96,000 ticket purchased at Usnavi's , sparking neighborhood speculation on its potential windfall. Romantic and familial pressures mount: Usnavi arranges a date with Vanessa, who faces eviction threats from her alcoholic mother's debts, and Nina grapples with guilt over her father's sacrifices, including his own abandoned dreams after immigrating from . A community dinner honors Nina's return, but revelations of her failing grades lead to impulsively decide to sell the dispatch business to fund her education, straining family dynamics. The act culminates in a sudden neighborhood-wide blackout on the evening of July 4, plunging the streets into darkness and scattering the group amid chaos from looters and uncertainty over the lottery ticket's fate.

Act Two

The second act opens amid the aftermath of a citywide blackout, which exacerbates tensions in Washington Heights, including damage to Usnavi's from looters and heightened financial pressures on the Rosario taxi service. Abuela Claudia suffers a fatal heart attack during the outage, prompting the community to gather for an funeral vigil where they share stories honoring her role as a nurturing matriarch who raised many local children, including Nina. During the vigil, the group discovers a winning lottery ticket worth $96,000 in Abuela Claudia's possessions, its numbers matching those of Usnavi's , which she had purchased there. In her will, she bequeaths the winnings to Usnavi, urging him to pursue his dream of returning to the to restore his parents' beachside home, while allocating portions to others like the Rosarios. Usnavi grapples with this windfall, initially planning to leave with Vanessa after securing her a new apartment lease, but his resolve wavers as he confronts the 's uncertain future under a landlord eyeing sale amid post-blackout repairs. Parallel crises unfold for the , whose business faces foreclosure as the bank demands immediate repayment of to acquire costly taxi medallions amid rising competition. , Usnavi's undocumented cousin, reveals his immigration status when seeking a to help, disqualifying him and underscoring vulnerabilities within the . Rosario pressures to buy the medallions, but declines, prioritizing his relationship with Nina over financial entanglement. Nina, having secretly dropped out of Stanford to support her family, recommits to her heritage by choosing to bridge her academic ambitions with familial duties, ultimately returning to school after contributions anonymously cover the Rosario debt. Usnavi, moved by a community-painted tribute to Abuela Claudia on the wall and reflections on his deep ties to the neighborhood, abandons his departure plans, using the remaining lottery funds to purchase and invest in the , affirming Washington Heights as his true home. Romantic resolutions solidify with Usnavi and Vanessa embracing their future together in the , and Nina and overcoming parental opposition to commit mutually. The act culminates in a vibrant , "Carnaval del Barrio," where the residents collectively celebrate their resilience against adversity, blending salsa, hip-hop, and merengue in a display of unity and renewal.

Musical Numbers

The score of In the Heights fuses hip-hop and rap with salsa, merengue, , and other Latin rhythms, alongside Broadway ensemble structures, to depict the pulsating energy and cultural authenticity of Washington Heights. Lin-Manuel Miranda's compositions emphasize rapid-fire rap for character introspection and plot propulsion, contrasted with percussive Latin beats and horns for communal scenes, creating a streetwise immediacy distinct from traditional musical theater. Musical numbers in the original Broadway production, drawn from the 2008 cast recording, are organized below by act, with primary performers noted; each advances narrative momentum through stylistic shifts, such as rap-driven solos yielding to group harmonies.

Act I

  • In the Heights (Usnavi and company): Opens with Usnavi's rap establishing the neighborhood's rhythm and residents' aspirations, blending freestyle verses with upbeat ensemble hooks.
  • Breathe (Nina and company): Conveys Nina's homecoming anxiety via layered vocals over building percussion, underscoring family pressures.
  • Benny's Dispatch (Benny): A spoken-sung dispatch highlights workplace banter, incorporating radio-style rap for character backstory.
  • It Won't Be Long Now (Kevin, Camila, Benny, Nina): Quartet advances romantic tensions with pop-infused harmonies and Latin guitar riffs.
  • Inútil (Kevin and ensemble): Explores paternal frustration through confrontational rap and choral responses, heightening generational conflict.
  • No Me Diga (Vanessa, Daniela, Carla, Nina): Salon gossip propels subplots via sassy merengue-tinged verses and call-response interplay.
  • 96,000 (Company): Celebrates lottery windfall dreams with hip-hop patter escalating to full-ensemble frenzy, fusing rapid rhymes and salsa grooves.
  • Clase de 1957 (Abuela and company): Reflective waltz-like number reveals Abuela's history, transitioning to nostalgic Latin balladry.
  • The Club (Nina, Benny, ensemble): Nightclub flirtation builds via club beats and rap, deepening the central romance.
  • Blackout (Company): Chaos of power outage drives rising action with urgent rap and percussive pulses simulating frenzy.

Act II

  • Sunrise (Usnavi, Vanessa, Abuela): Morning reprise advances personal revelations through soft rap and string-laden introspection.
  • When the Sun Goes Down (Benny, Nina): Intimate fosters emotional intimacy via R&B-rap fusion amid sunset imagery.
  • Enough (Ramon, ): Father-son tension resolves partially with raw rap dialogue over minimalistic beats.
  • Carnaval del Barrio (): Festive street party erupts in salsa-merengue explosion, uniting characters in cultural revelry.
  • Atención! (Daniela, Carla, ensemble): Vendor alerts inject humor and urgency via rhythmic chants and horns.
  • Alabanza (Nina, Benny, Usnavi, Vanessa, ): Pivotal praise song cements bonds through gospel-inflected Latin harmonies.
  • Champagne (): Triumphant toast escalates victory with bubbly rap and orchestral swells.
  • When You're Home (Usnavi, ensemble): Usnavi's homecoming integrates hip-hop narrative with communal salsa, resolving arcs.
  • Respirar (): Reprise of "Breathe" closes with reflective breaths, blending rap echoes and uplifting finale rhythms.
No substantive revisions to the core musical numbers occurred in stage revivals, though adaptations like the 2021 West End production retained the original sequence with minor orchestration tweaks for venue acoustics.

Principal Characters

Usnavi de la Vega is the protagonist and narrator, a first-generation Dominican-American in his twenties who owns a in Washington Heights and sells piraguas, aspiring to return to his homeland in the where his late parents are buried. He lives with Abuela Claudia, whom he views as a grandmother figure, and harbors romantic feelings for Vanessa while serving as a community connector through his business. Usnavi is characterized as buoyant, hardworking, and skilled in rap, with strong and movement abilities. Nina Rosario, an 18- to 19-year-old Latina college student, returns home from her freshman year at , representing the hopes of her immigrant parents but grappling with academic pressures and guilt over her family's sacrifices. As the daughter of and Camila Rosario, she is involved in a romance with and embodies the theme of first-generation achievement amid community expectations. Nina requires a strong voice with belt/mix capabilities up to E and proficiency in movement. Vanessa, a Latina woman in her twenties working as a shampoo girl at Daniela's salon, dreams of escaping Washington Heights to pursue in the , forming a key romantic interest for Usnavi. She is depicted as ambitious and independent, with excellent belting vocals and dance skills essential for her role. , a man in his twenties employed as a dispatcher at Rosario's Car Service, is Usnavi's best friend and Nina's love interest, aspiring to advance within the business while navigating interracial dynamics in the neighborhood. He is portrayed as responsible and hardworking, mentored by , with strong vocals and dance proficiency. Abuela Claudia, a mid-60s immigrant and neighborhood matriarch, raised Usnavi after his parents' death and serves as a wise, guiding presence, distributing winnings that impact the community. She emigrated from and embodies familial and cultural continuity, requiring a strong belt voice up to C, with skills preferred. Kevin Rosario, Nina's middle-aged Puerto Rican father and owner of Rosario's Car Service, is stubborn and proud, having emigrated from and prioritizing his daughter's education despite financial strains. He mentors and resists selling the business, demanding strong vocal and capabilities. Camila Rosario, Kevin's and Nina's , co-manages the car service after emigrating from at age 19, providing supportive yet strained familial dynamics amid economic challenges. She is a middle-aged Latina with strong singing requirements. Sonny, Usnavi's teenage Latino cousin in his mid-teens, assists at the with a laid-back, comedic demeanor, advocating for community improvements and displaying rap talents. He is outgoing and requires good , , and movement skills.

Development

Concept and Early Influences

began developing In the Heights during his sophomore year at in 1999, initially writing both the music and script over a winter break while living off-campus. As a theater major immersed in the university's performance scene, he drew from his Puerto Rican heritage—his father having immigrated from , and his mother maintaining strong family ties there—to portray the immigrant dynamics of New York City's Washington Heights neighborhood, where he grew up observing bodega-centric daily routines, salsa club gatherings, and the economic strains of low-wage labor amid aspirations for upward mobility. These elements formed the musical's core concept: a three-day snapshot of a Latinx block community navigating personal ambitions, familial obligations, and environmental stressors like summer heat waves exacerbating power demands. Miranda partnered with playwright to refine the book, integrating causal drivers such as remittances sent to support extended families abroad, multi-generational migration patterns that tether individuals to homeland expectations, and urban failures that amplify economic . This collaboration emphasized unvarnished portrayals of , avoiding romanticized narratives in favor of tensions arising from resource scarcity and cultural displacement. The concept evolved through an initial workshop at the Eugene O'Neill Theater Center's National Music Theater Conference in Waterford, Connecticut, in July 2005, where Miranda honed a score fusing hip-hop rhythms with salsa and merengue to authentically echo the multilingual, street-level voices of Heights residents. This developmental staging allowed testing of the hybrid genre's viability in capturing the district's sonic landscape, rooted in Miranda's firsthand exposure to bodega radios and club beats, while prioritizing narrative fidelity to real immigrant pressures over stylized escapism.

Workshops and Initial Tryouts

The musical received its initial workshop presentation at the Theater Center's National Music Theater Conference in , in July 2005. This two-week program provided and book writer with opportunities for script-in-hand readings, enabling targeted revisions to the narrative structure and character motivations without the pressures of full staging or performances. Directed by from the outset, the workshop emphasized iterative feedback to refine the ensemble-driven storytelling, drawing on Miranda's observations of Washington Heights' Dominican-American community dynamics. Following the workshop, In the Heights progressed to an tryout at 37 Arts Theatre, opening on February 8, 2007. The production, again directed by Kail with choreography by , tested the integration of hip-hop, salsa, and merengue elements into the staging, grounding movements in observable street and cultural practices from New York City's immigrant enclaves. Audience responses during this run highlighted areas for narrative tightening, prompting adjustments to pacing and song placements to heighten dramatic tension around themes of economic and familial ties. The engagement concluded on July 15, 2007, specifically to facilitate pre-Broadway revisions informed by tryout feedback. These changes strengthened Usnavi's personal arc as a bodega owner confronting return migration pressures, aligning more closely with documented patterns of entrepreneurial resilience among Dominican immigrants in urban settings where small businesses serve as economic anchors amid threats. Kail and Blankenbuehler's contributions ensured the community ensemble's choreography evoked realistic block-party vitality, enhancing empirical portrayal of collective immigrant experiences over stylized abstraction.

Stage Productions

Original Off-Broadway and Broadway Runs (2005–2011)

The Off-Broadway production of In the Heights commenced previews on , 2007, at the 37 Arts Theatre in , officially opening on February 8, 2007. Directed by , the run concluded on July 15, 2007, after 33 previews and 182 performances. The production then transferred to Broadway, beginning previews on February 14, 2008, and holding its opening night on March 9, 2008, at the . It played its final performance on January 9, 2011, totaling 29 previews and 1,184 regular performances. Amid the , the Broadway engagement sustained robust attendance, grossing $103,533,191 overall with an average of 80.47% and average ticket prices of $78.78. Weekly grosses peaked at $1,136,062 during the week ending January 4, 2009, reflecting resilience fueled by audience recommendations and media attention. The original staging emphasized the neighborhood's vibrancy through Anna Louizos's scenic design, which incorporated a two-tiered, cluttered of fire escapes, bodegas, and apartment facades to convey urban density and communal proximity.

Tours and Early International Productions (2009–2017)

The first national tour of In the Heights launched on October 27, 2009, in , and continued across North America through 2011, including stops in . This production marked the musical's expansion beyond New York, adapting the show's urban Latinx neighborhood dynamics to diverse regional audiences while maintaining its core ensemble-driven and bilingual elements. Touring involved transporting elaborate set pieces evoking Washington Heights' streetscapes, which posed challenges in varying venue sizes and regional technical capabilities, yet the tour sustained the musical's high-energy salsa and hip-hop fusion. Early international stagings began with the Philippine premiere in on September 2, 2011, at the Auditorium, the first officially licensed production outside New York and the U.S. tour, running through September 18. Directed by Bobby Garcia, it emphasized the show's themes of immigrant ambition and community ties, resonating with Manila's multicultural fabric despite logistical hurdles in sourcing period-specific costumes and securing performers unfamiliar to local theaters. Subsequent productions included a Spanish-language student-led version in in June 2013 by Instituto Alberto Einstein, followed by a professional staging of Carnaval del Barrio (the show's Spanish title) from October 3 to 31, 2013, at Teatro en Círculo, which adapted dialogue and songs to highlight Panamanian cultural parallels to Dominican and Puerto Rican heritage. In Brazil, the São Paulo debut occurred on April 17, 2014, at Teatro Bradesco, introducing the musical to South American audiences with localized marketing to underscore economic migration narratives akin to those in favelas. The Japanese premiere in ran in 2014 at Bunkamura's Theatre Cocoon, featuring an all-Japanese cast that navigated challenges by intensifying gestural to convey the original's vitality across linguistic barriers, earning praise for bridging distant cultural contexts. Australia's production by StageArt opened on February 20, 2015, adapting the ensemble numbers for intimate venues like Chapel off Chapel, where directors focused on universalizing themes of generational conflict amid Australia's immigrant communities. The London transfer to King's Cross Theatre began October 13, 2015, directed by Luke Sheppard with choreography by Drew McOnie, running through 2017 and requiring adjustments to British theater norms, such as amplifying Spanish rap sections for non-Spanish-speaking crowds while preserving the score's rhythmic authenticity. In Peru's 2016 production, Spanish adaptations enhanced cultural resonance by incorporating local Andean influences into dance sequences, addressing logistical issues like importing hip-hop specialists and tailoring lyrics to reflect Limeño experiences similar to the Dominican roots in the script. These early global efforts highlighted touring economics' demands, with productions often relying on regional licensing fees and sponsorships to offset high transportation costs for multicultural casts, though specific attendance figures varied by market without centralized revenue reporting.

Later International Productions and Revivals (2018–Present)

The first Nordic production of In the Heights premiered at Bastionen Theatre in , , from January to February 2018, marking the musical's debut in the region through a ensemble from Musicaltalentskolen . In , a semi-professional Spanish-language staging directed by Valenzuela opened on , , at Teatro Fernando in , , produced by Cuarta Pared Teatro and emphasizing local cultural resonance with themes of community and aspiration. This production's success led to its revival in October 2025 by Souls of Unity and Cuarta Pared, underscoring sustained regional interest amid economic challenges in live theater. Post-pandemic revivals in the United States demonstrated adaptations to health protocols and audience recovery, with the regional premiere in New Orleans running October 7–16, 2022, at Jefferson Performing Arts Center, directed and choreographed by local artist Michelle Pietri with musical direction by Rick Cordova. In , the musical's first presentation occurred on September 24, 2022, at Teatr Muzyczny Adria in , directed by Kacper Wojcieszek with a cast of 24 including established performers like Rafał Szocs, translating Lin-Manuel Miranda's score to highlight immigrant narratives in a European context. Recent U.S. stagings reflected the work's licensing popularity, as evidenced by professional runs like Play House's production from May 11 to June 9, 2024, at Allen Theatre, directed by James Vásquez, which drew praise for its energetic portrayal of Washington Heights amid a competitive regional theater market. Signature Theatre in Arlington, , mounted an intimate revival from February 11 to May 4, 2025, in its Max Theatre, featuring Ángel Lozada as Usnavi and noted for vibrant that captured the musical's communal spirit despite smaller-scale venue constraints. Internationally, a new Australian production opened August 7, 2025, at Melbourne's Comedy Theatre, directed by Michael Kantor with a cast including Ryan Gonzalez as Usnavi, extending the show's global footprint through licensed adaptations that incorporate local multicultural elements. These efforts illustrate In the Heights' resilience in the streaming-dominated era, with empirical indicators such as repeated regional premieres and positive critical reception signaling demand for live performances of its blend of salsa, hip-hop, and , even as digital alternatives proliferated following the 2021 film adaptation. Licensing data from rights holders like Music Theatre International, while not publicly detailed, correlates with increased amateur and professional mountings post-2018, reflecting the musical's appeal to diverse ensembles navigating post-COVID operational hurdles like masked rehearsals and capacity limits.

Principal Casts

Original Broadway Cast

The original Broadway production of In the Heights premiered on March 9, 2008, at the , featuring a principal cast drawn from performers of Latin American heritage to authentically represent the Dominican, Puerto Rican, Cuban, and other immigrant influences central to the Washington Heights setting. , who conceived the show during his time at and performed early versions in the neighborhood, originated the role of Usnavi de la Vega, infusing the character—a owner contemplating a return to the —with personal insights from his own Puerto Rican-American upbringing in the area. The selection process emphasized bilingual actors capable of navigating rhythms in dialogue and music, ensuring linguistic realism reflective of the community's . Key principal cast members included:
CharacterPerformer
Usnavi de la VegaLin-Manuel Miranda
Nina RosarioMandy Gonzalez
VanessaKaren Olivo
BennyChristopher Jackson
Abuela ClaudiaOlga Merediz
Kevin RosarioJohn Herrera
CamilaPriscilla Lopez
DanielaAndréa Burns
SonnyRobin de Jesús
Performers like Merediz, a Cuban-American actress known for Spanish-language theater roles, brought generational depth to Abuela Claudia, the surrogate grandmother figure, while Olivo and Gonzalez embodied aspiring young women's ambitions within immigrant family pressures. This cohesive ensemble, many with prior Off-Broadway or regional credits in Latino-centric works, generated early production buzz through dynamic group numbers that highlighted communal bonds, aiding the transfer from 37 Arts to Broadway.

Notable Replacements and Touring Casts

portrayed Usnavi de la Vega in the Broadway production starting in 2009, bringing a recognizable presence from his roles to the role originally created by . also succeeded Miranda as Usnavi during the original Broadway run, later transitioning to the lead in Hamilton. For Nina Rosario, notable replacements included , known from , and , injecting fresh vocal interpretations into the character's arc. These changes occurred amid the production's extended run from 2008 to 2011, allowing the show to adapt to actor availability while maintaining its core ensemble dynamics. The first national tour, launched in 2009, featured Kyle Beltran as Usnavi, alongside Daniel Bolero as and David Baida handling multiple roles including Piragua Guy. Non-Equity tours emphasized energetic performers to replicate the street-level vitality of the original, with casts like those in later regional iterations sustaining audience engagement through dynamic ensemble work. Such touring productions extended the musical's reach beyond New York, often casting actors with ties to Latin American heritage to align with the story's Dominican and Puerto Rican community focus. In the West End production at the King's Cross Theatre from 2015 to 2017, replacements included as Vanessa from April 15, 2016, and Norma Atallah as Abuela Claudia, alongside ensemble shifts like Jonathan Bishop as Graffiti Pete. International stagings, such as those in and the , similarly rotated casts with local talent of relevant ethnic backgrounds—e.g., Jerome Javier in —to preserve the narrative's cultural specificity, contributing to sold-out runs in diverse markets. These substitutions ensured productions remained vibrant, often correlating with prolonged engagements by refreshing interpretations without altering the script's emphasis on immigrant resilience.

Film Adaptation Cast

The 2021 Warner Bros. adaptation of In the Heights assembled a principal cast emphasizing performers with robust , dancing, and skills suited to the medium's demands for emotional delivery and expansive . Director prioritized actors capable of embodying the Washington Heights community's multicultural dynamics while adapting stage-originated characters for visual storytelling, including heightened ensemble numbers that leveraged techniques like and . Anthony Ramos, a Puerto Rican-American actor with Broadway experience from Hamilton, was selected as Usnavi de la Vega, the Dominican bodega owner and central narrator—a role originally created and performed by Lin-Manuel Miranda on stage. This casting shifted the archetype from Miranda's lighter-skinned Dominican portrayal to Ramos's energetic, relatable screen presence, enabling Miranda to take a supporting role as the piragüero vendor. Melissa Barrera, a Mexican actress known for Vida, played Vanessa, the ambitious hairdresser and love interest, infusing the character with a fresh intensity for cinematic romance sequences. Leslie Grace, a Dominican-American bachata singer making her film debut, portrayed Nina Rosario, the Stanford returnee grappling with family expectations, her vocal background aligning with the role's demanding ballads. Corey Hawkins, recognized from Straight Outta Compton, assumed Benny, the cab company dispatcher and Nina's suitor, bringing dramatic depth to the interracial romance subplot. Supporting roles featured Broadway veterans and newcomers to reinforce authenticity. reprised her Tony-nominated performance as Abuela Claudia, the neighborhood matriarch, providing emotional continuity from the stage. returned as Daniela, the sassy salon owner, while embodied Carla, Daniela's employee, adding comedic timing honed from . played Kevin Rosario, Nina's father, and depicted , Usnavi's cousin, both selected for their ability to convey generational tensions in expanded family dynamics. Miranda's cameo as the piragüero highlighted the film's nods to theatrical roots amid broader casting for diverse heritages.
ActorRole
Usnavi de la Vega
Vanessa
Nina Rosario
Benny
Abuela Claudia
Daniela
Kevin Rosario
Sonny
Carla
Piragüero

Awards and Nominations

Original Broadway Production

The original Broadway production of In the Heights received 13 nominations for the Tony Awards, ultimately securing four wins, including the competitive category of Best Musical over nominees such as Passing Strange and Cry-Baby. This victory highlighted the musical's innovative blend of hip-hop, salsa, and Latin rhythms in depicting Washington Heights life, distinguishing it from contemporaries like Passing Strange, which earned praise for experimental storytelling but lacked the same breadth of ensemble-driven and score integration. Specific Tony wins included Best Original Score for Lin-Manuel Miranda's music and lyrics, recognizing the score's fusion of streetwise rap with merengue and influences. Best Choreography went to for dynamic sequences that evoked block-party energy and cultural specificity. Additionally, Best Orchestrations was awarded to and Bill Sherman for enhancing the score's rhythmic complexity across a full Broadway orchestra. These accolades underscored the production's technical and artistic advancements in musical theater form during a season dominated by revivals and traditional book musicals. While the Broadway transfer built on off-Broadway momentum, its Tony successes affirmed empirical strengths in audience engagement and critical validation over stylistic peers, with In the Heights grossing over $1 million weekly post-awards amid a field where innovative works like Passing Strange achieved cult status but shorter runs.

Other Productions and Adaptations

![ITH-WestEnd.jpg][float-right] The West End production of In the Heights at the King's Cross Theatre in 2015–2016 earned several Award nominations, including for Best New Musical, and secured a win for Best awarded to Drew McOnie. The production ultimately received three Olivier Awards, highlighting its impact on theatre audiences through vibrant choreography and performances that drew over 96,000 attendees during its run. International stagings, such as the 2025 Australian tour produced by Joshua Robson Productions, have extended the musical's reach to regional venues like the Gold Coast's HOTA and , fostering local appreciation for its themes of immigrant community life amid contemporary performances. The 2021 film adaptation, directed by , received one Golden Globe nomination for in the – Motion Picture Musical or Comedy category, though it garnered no Oscar nominations despite its expansive production involving over 50 locations in . Licensing through Concord Theatricals has sustained the musical's global presence, enabling numerous amateur and professional productions worldwide that maintain fidelity to its cultural specificity, as evidenced by restrictions against whitewashing casting in educational settings.

Reception

Critical Response to the Stage Musical

The Broadway premiere of In the Heights on March 9, 2008, at the Richard Rodgers Theatre received predominantly positive reviews from major critics, who highlighted its fresh fusion of hip-hop, salsa, and Latin rhythms in the score, as well as its vibrant depiction of Washington Heights community life. The New York Times described the production as featuring a "tuneful score enlivened by the dancing rhythms of salsa and Latin pop," crediting composer-lyricist Lin-Manuel Miranda with crafting a lively portrait of immigrant aspirations and neighborhood bonds. Similarly, Variety commended Miranda's work as introducing a "dynamic new talent" to musical theater, praising the "tuneful" and "touching" portrayal of barrio existence over a sweltering July 4th weekend disrupted by a blackout. Critics also acclaimed the choreography by Andy Blankenbuehler, which infused the ensemble numbers with high-energy street dance elements that mirrored the score's multicultural pulse, contributing to the show's infectious vitality. New York Magazine noted that the musical largely sidestepped "dopey clichés" in its borrowing from Broadway traditions, opting instead for an authentic, rhythmic exploration of Latino-American experiences. However, some reviewers observed elements of sentimentality in the narrative's focus on familial uplift and dreams deferred, with characterizations of the show as infused with "old-fashioned warmth and show business schmaltz." Overall, the critical consensus emphasized the balance between artistic innovation and commercial appeal, with the production's precursor in 2007 already earning acclaim for its "inspiriting flavor" akin to a " mural of Latin-American life." While early runs occasionally faced notes on structural tightening for pacing in ensemble-driven sequences, the Broadway iteration solidified its reputation as a joyous, rhythmically driven ensemble piece that elevated underrepresented voices without sacrificing theatrical momentum.

Commercial and Audience Reception

The original Broadway production of In the Heights, which ran from March 9, 2008, to January 9, 2011, grossed $105,302,946 over 1,184 performances and 29 previews, drawing total attendance of 1,322,889. Producers recouped the show's $10 million in approximately 10 months after 337 performances, marking it as a financial hit by industry standards. These figures reflect sustained high occupancy and ticket demand, with average weekly grosses often exceeding $1 million during peak periods. Audience composition for the production showed broader appeal than typical Broadway demographics, attracting a higher proportion of theatergoers and the season's peak non-Caucasian attendance, with white audiences at 74% compared to subsequent seasons' increases to 77%. This indicates crossover from Latino communities into the general theatergoing public, evidenced by elevated representation beyond the league's average of around 5.7% in prior years. The first national tour, launched in , generated strong revenues in key markets, ranking among the top 15 single-week grosses for its engagements, such as in Charlotte where it placed in the upper 30% of touring productions. Ongoing demand is demonstrated by persistent revivals, including regional runs extending into 2025, underscoring organic audience interest beyond the initial production.

Critical Response to the Film Adaptation

Critics largely praised the 2021 of In the Heights for its visual exuberance and directorial flair, with director lauded for staging dynamic musical numbers that evoked the pulsating rhythm of Washington Heights. The cinematography, led by Alice Brooks, was highlighted for immersing audiences in the neighborhood's multicultural vibrancy through sweeping aerial shots, fluid tracking sequences, and a color palette that amplified the story's summery optimism. Aggregated reviews reflected this enthusiasm, yielding a 94% approval rating on from 456 critic assessments, with consensus emphasizing the film's joyous homage to immigrant resilience and community bonds. Notwithstanding these strengths, detractors pointed to structural weaknesses in the screenplay and execution, arguing that the narrative's sprawling ensemble threads led to uneven pacing and diluted emotional stakes over its 143-minute runtime. Some found the plot's resolution of socioeconomic tensions—such as and economic —too pat and uplifting, resulting in a generic uplift that softened the source material's sharper social observations. A pointed in Jacobin deemed the adaptation "the most boring movie of the year," faulting its sanitized portrayal of barrio life for evading gritty realism in favor of feel-good , thereby muting potential commentary on class and racial inequities. The film's critical goodwill did not translate to robust commercial success, as it earned roughly $44 million worldwide against a $55 million production budget, hampered by the pandemic's theater restrictions and a day-and-date HBO Max release that fragmented audiences.) This underperformance underscored broader challenges for musicals in a disrupted market, though streaming metrics suggested sustained viewership beyond cinemas.

Controversies

Colorism and Afro-Latino Representation

The release of the 2021 film In the Heights prompted backlash centered on the limited presence of dark-skinned Afro-Latino actors in lead roles, with critics contending that this choice marginalized a key demographic of the depicted Washington Heights community. Publications such as highlighted the "erasure" of dark-skinned Afro-Latinx individuals, noting their relegation to background roles despite the neighborhood's Latino majority—approximately 70% of residents—many of whom exhibit African-descended features due to the area's heavy Dominican heritage. Similarly, Vox contributors described the casting as exemplifying colorism within Latinx communities, where lighter-skinned performers dominated principals like Usnavi (, light-skinned Puerto Rican) and Vanessa (, Mexican), while darker Afro-Latinos appeared primarily as extras. Lin-Manuel Miranda addressed the concerns on June 14, 2021, via , stating, "I can hear the hurt and frustration over colorism, of feeling still unseen in the feedback. I hear that without sufficient dark-skinned Afro-Latino representation, the work feels unfinished." He committed to greater inclusion in future projects but defended the film's intent to showcase Latino diversity broadly, without attributing the issue to deliberate exclusion. reported that this reflected ongoing Hollywood tendencies to prioritize lighter complexions in ethnic leads, a pattern rooted in market preferences rather than isolated intent, as evidenced by similar critiques across Latino-centered productions. These objections underscored discrepancies between the film's principals—predominantly or lighter-skinned Latinos—and the phenotypic range in Washington Heights, where census data indicate Latinos form over 70% of the population, with substantial Afro-descendant traits among Dominicans, though self-reported identification remains low at around 7-8% inclusive of non-Latinos. Critics from outlets like argued this underrepresentation perpetuated colorism's causal dynamics, favoring palatable visuals for wider audiences over accurate communal reflection.

Broader Criticisms of Portrayal and Execution

Critics of the stage musical have pointed to its romanticized depiction of and immigrant life in Washington Heights, arguing that the narrative prioritizes uplifting ensemble numbers and communal harmony over a candid examination of economic hardship and social fragmentation. This approach results in character arcs that follow predictable trajectories—such as the aspiring entrepreneur Usnavi returning to his roots or the young couple Nina and overcoming parental disapproval—lacking the causal complexity to elevate beyond standard Broadway tropes. Such execution, while effective for broad appeal, dilutes the specificity of Dominican-American experiences into sentimental generalities. The film adaptation amplified these shortcomings through stylistic choices that further homogenized cultural elements, as noted in Frances Negrón-Muntaner's analysis of its "generic Latinidad," which blends diverse Latino influences into a comforting but indistinct backdrop, misaligning with the era's demands for sharper ethnic delineations. Narrative execution faltered with meandering subplots and deviations from the source material, including an earlier death for Abuela Claudia that introduces ethereal guidance, arguably undercutting the stakes of loss and inheritance central to the original's emotional core. Jacobin reviewer Eileen Jones highlighted the resulting dull plotting, describing the film as fundamentally tedious despite its visual flair, with conflicts resolving in foreseeable, low-tension manners that fail to sustain momentum over its 143-minute runtime. Empirically, post-release audience metrics reflected compounded discontent: following the June 2021 colorism backlash, review bombing contributed to a audience score dip to 56% by mid-July, yet professional critiques independently underscored persistent narrative weaknesses, such as insufficient causal linkages between personal aspirations and broader socioeconomic pressures, independent of external controversies.

Cultural Impact and Legacy

In the Heights has exerted a lasting influence on American musical theater by demonstrating the commercial viability of stories centered on Latino immigrant experiences, thereby facilitating greater diversity in Broadway productions. Premiering in 2008, the musical provided with the platform and recognition that enabled him to develop Hamilton in 2015, which further expanded the integration of hip-hop and multicultural narratives into mainstream theater. This success contributed to heightened visibility for Latino creators and performers, as evidenced by the subsequent emergence of works addressing similar themes of and , amid broader trends toward inclusive casting and storytelling on stages post-2008. The musical's legacy also lies in its thematic emphasis on individual agency and entrepreneurial aspiration over collective grievance, exemplified by protagonist Usnavi's ownership and operation of a bodega amid economic pressures, portraying immigration as a proactive pursuit of self-determination within tight-knit communities. This narrative choice has sparked ongoing discourse in cultural analyses about balancing personal ambition with communal ties, contrasting with portrayals that prioritize systemic obstacles, though such interpretations remain interpretive rather than prescriptive for policy. Sustained relevance is maintained through frequent regional and international revivals, including a 20th anniversary concert on September 8, 2025, at the Eugene O'Neill Theatre Center—where the show premiered in workshop form—and productions at venues like Signature Theatre from February to May 2025. These efforts, alongside the 2021 film's streaming accessibility, continue to engage new generations, reinforcing the work's role in normalizing aspirational depictions of Latino life without direct entanglement in advocacy-driven societal shifts.

Documentary

In the Heights: Chasing Broadway Dreams is a documentary film that examines the development of the original Broadway production of In the Heights. Directed by Paul Bozymowski, the 54-minute production aired on 's series on May 27, 2011. It features interviews with composer-lyricist and original cast members, including Carlos Gomez and , who describe decisions in integrating hip-hop, salsa, and Latin rhythms into the score to mirror the multicultural soundscape of New York City's Washington Heights neighborhood. Archival footage captures rehearsal processes, such as choreographer Andy Blankenbuehler's staging of ensemble numbers that emphasized community dynamics through synchronized dance sequences blending street styles with theatrical precision. recounts causal choices, like adapting personal family anecdotes into songs such as "Inútil" to authentically portray generational tensions in Dominican immigrant households, verified by clips of early workshops at the National Music Theater Conference in 2005. The documentary also includes performances of key numbers, like the opening sequence, providing visual evidence of how bilingual lyrics and dialogue were refined during runs at 37 Arts in 2007 to enhance rhythmic flow and cultural specificity. Cast discussions highlight logistical decisions, such as casting actors with real-world ties to life to ensure naturalistic portrayals amid the demands of rapid tempo shifts in numbers like "The Club." For the 2021 film adaptation, no standalone feature-length was produced, though supplemental materials like ' behind-the-scenes featurettes on detail challenges in scaling stage choreography for location shoots in New York and the . A episode from the In the Heights: El Suenito series, released in 2021, features Miranda, librettist , and music supervisor explaining adaptations, such as reorchestrating "96,000" for cinematic immersion using practical effects for the lottery sequence.

References

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