Gay San Diego July 30

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THEATRE THEATRE REVIEW

Choreography and lyrics that set your heart on fire make ‘In the Heights’ a must-see at Civic

IN THE HEIGHTS Through Aug. 1

San Diego Civic Theatre broadwaysd.com (619) 570-1100 Friday at 8 p.m.

Saturday at 2 and 8 p.m. Sunday at 1 and 6 p.m.

THEATRESCENE CUAUHTÉMOC KISH

I’m going to be stingy in my

assessment of “In the Heights,” playing through Aug. 1 at the Civic Theatre in San Diego. Instead of an A-plus, I am limit- ing the grade to an A, simply

July 30-August 12, 2010 GAY SAN DIEGO

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(l to r): Daniel Bolero, Natalie Toro and Kyle Beltran in “In the Heights” (Courtesy Joan Marcus)

or Puerto Rico, and celebrat- ing them all. The focal point is a bodega, where heavy or light chit-chat is exchanged while cinnamon-flavored café con leche is poured and then carried

language if they still can’t hear you?” One of the things that really

drives this show, apart from Miranda’s songs and raps that are so full of heart, is the kinetic

Benny, a black man struggling with his Spanish grammar says at one point, “Why learn a language if they still can’t hear you?”

because of the mediocre story- line. Written by Quiara Alegría Hudes, it’s a clichéd, pasted- together plot-line that shouts “been there, heard that before.” Never-the-less, it’s that thin

plot that gets us to the Heights (Washington Heights), an up- per Manhattan barrio, where the music (salsa, merengue, hip-hop, jazz, pop and soul) and the dancing never seem to stop. Lin-Manuel Miranda, who played the lead (Usnavi) on Broadway, reflected upon his youth for his Tony Award winning score (it garnered three other Tonys for outstanding musical, chore- ography and orchestrations). Miranda is working with director Kenny Ortega on a film version of the show. While I reviewed the show

at the Pantages Theatre in Los Angeles, the cast will remain just about the same (Rayanne Gon- zales will play Abuela Claudia in San Diego) for its week-long performance schedule in San Diego. “In the Heights” is all about

defining the flavor of home— present, past and future, be it Cuba, the Dominican Republic

off by Usnavi’s familiar customer clientele. They are all neighbors, and sometimes called family. Everyone in this cast of 30

is likeable, and has a voice (and movements) to match. Nina (Arielle Jacobs) takes your breath away with “Breathe” and “Everything I Know,” while her stage papi, Kevin (Danny Bo- lero), renders “Inutil” with notes that are pure and strong. Abuela Claudia’s (Elise Santora) version of “Paciencia y Fe (Patience and Faith)” was masterful and heart- warming, while Camila (Natalie Toro) was fiercely strong and compelling with her renditions of “Siempre” and “Enough.” The show is much more

than an angst storyline; it’s sometimes a frolic amongst a zany trio of cosmetologists from the local beauty shop— Daniela (Isabel Santiago), Carla (Genny Lis Padilla) and Vanessa (Lexi Lawson). And it’s also infused with lots of love: young and old, tough-love from concerned par- ents, and love of heritage. And it’s a mix of languages where Benny, a black man struggling with his Spanish grammar, says at one point, “Why learn a

choreography. Choreographer Andy Blankenbuehler found the beat and rhythms inherent in this multicultural street, atten- tively designed by Anna Louizo, and made the entire cast pulsate non-stop throughout this ener- gized production. If you want dynamic cho-

reography, lyrics that set your heart on fire, and a good story that director Thomas Kail pulls together, you must find your way to the Civic Theatre and let your- self be thoroughly entertained “In the Heights.”☭

Arielle Jacobs and Rogelio Douglas Jr. in “In the Heights” (Courtesy Joan Marcus)

Kyle Beltran as Usnavi in the Tony Award winning musical “In the Heights” (Courtesy Joan Marcus)

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