Nine years on from its Broadway debut, audiences still can’t get enough of Hamilton. While theatre lovers anxiously await Sydney’s exclusive return season of Lin-Manuel Miranda’s Pulitzer Prize-winning musical, we also have the chance to go back to where it all began. The hit hip-hop musical’s multi-Tony-Award-winning predecessor, In the Heights, has landed at the Sydney Opera House to heat things up this winter.
First hitting the Broadway stage in 2008 (before it inspired the 2021 feature film), this rags-to-riches story returns to the Harbour City with gusto for the first time since 2019. A fiery fusion of poetry and passion, In the Heights is an idyllic love letter to the riches of community, cariños and carnaval!
The story is simple enough: Usnavi (Ryan Gonzalez, they/them - Zombie! The Musical), a bodega owner living in the largely Latin-American neighbourhood of Washington Heights in Upper Manhattan, dreams of returning to his homeland and pines for the strong and beautiful Vanessa (Olivia Vásquez, she/her). Amongst the struggles of the day-to-day – the rising threat of gentrification, the cost of living, tighter immigration laws, and heat-induced blackouts – the news of a winning lottery ticket could change everything for the local community, catalysing dreams about what a future beyond the Heights might look like.
The only thing hotter than the Fourth of July is this show and its suave cast.
Sydney’s winter chill is soon forgotten at the entrance of the Drama Theatre. Before the first bars of the opening number have even sounded, the performance has begun – Latin pop songs fill the theatre, and Mason Browne’s (they/them) meticulously crafted set is on full display. The large exposed-brick apartments, roller-shuttered storefronts, and the hanging fire escape immediately place us into a stereotypical New York City neighbourhood. Browne’s design embraces the rule of thirds – we are not invited to peer into just any old neighbourhood, but the street with ‘Rosario’s Car and Limousine’, ‘Dominican Style Haircuts’ and, the focal point of it all: Usnavi’s bodega. These stores draw the lines of connection and intersection amongst the Washington Heights community.
The opening number (‘In the Heights’) sets both the tone and the bar for the rest of the show – the stamina, energy and exertion on show is a promise for what’s to come. Under the musical direction of Victoria Falconer (she/her, Ride the Cyclone), the ensemble consistently out-sings one another in a battle of perfection. From Gonzalez’s mastery of theatrical rap, to the impeccable control and precision Barry Conrad (he/him) delivers in his R’n’B duets as Benny, and the impressive dynamic range of Vásquez’s Vanessa and Janet Dacal (she/her) as Daniela, the musical control of this cast leaves you in absolute awe. As the volume of this show ranges from loud to louder, selectively deployed moments of silence cut through the tension. Director Luke Joslin (he/him) – working alongside associate director Clary Riven (she/her) – savours these moments, allowing them to linger long enough to emphasise the pain and significance of certain revelations.
Ryan Gonzalez’s performance is playful and charming, making them the perfect fit for the slightly awkward but much loved Usnavi. Gonzalez is an intuitive fit – who not only bears an impressive resemblance to Lin-Manuel Miranda, but is also able to emanate Miranda’s distinctive lyrical tone – capturing the energy that made the original performance so memorable. They strut the stage, captivating the audience with a winning authenticity and rigour of heart, and their speed and versatility in the fast-paced role never falters. Gonzalez not only masters the emotional range, but also balances this with the jazz, bachata and salsa skills the role demands. The performance is an ode to their triple-threat career in cabaret, film and theatre.
As Vanessa, Olivia Vásquez is the embodiment of confidence, sensuality and hard work. Her portrayal radiates with a magnetic charisma that immediately draws the audience in, capturing Vanessa's determination with a nuanced performance that balances strength and vulnerability, and her chemistry with the ensemble creates a dynamic and engaging presence that stands out in every scene. Vásquez’s performance is a testament to her exceptional talent and dedication.
Whilst each member of the ensemble packs an astounding voice, a technical oversight or two in the production’s sound mixing lets them down. On opening night, the dialogue was overpowered by the orchestra and disrupted by random crackles of feedback.. For secondary characters like Sonny (Steve Costi, he/him) – Usnavi's younger cousin who works in the bodega with him – this diminished the characterisation, especially given his sparse yet verbosely intellectual dialogue (at no fault to Costi’s charismatic performance). The sound in such moments made it difficult to grasp what was being said, and its relevance to the performance.
Roles like Sonny are crucial for balancing the musical’s optimism with the characters’ realities. Whilst there has been criticised for its oversaturation of positivity and idealistic bootstrap mentality, this production makes it clear that each character’s struggle is rooted in systemic issues. Although the performance ends on the optimistic note it started with, it does not provide answers to many of the problems the characters face. Ultimately, a sing-song musical cannot make rent affordable, or provide legal solutions to immigration – but amidst a blackout of problems, a supportive community can serve as a guiding light.
Ryan Gonzalez not only bears an impressive resemblance to Lin-Manuel Miranda, but is also able to emanate Miranda’s distinctive lyrical tone.
A special mention must be made to Alexander Palacio as Kevin Rosario (the hardworking and overprotective monarch of the Rosario family), whose solo performance of ‘Inútil’ is absolutely gripping. His performance is a moving dedication to all good fathers, and a reminder of their kindness, sacrifices and flaws. It’s a moment of shared experience for all children of immigrant families, irrespective of one’s ethnic heritage. Palacio is the diaspora’s father.
To not give praise to the ensemble in its entirety would be an act of ingratitude. Each performer brings a powerful personality to the production. At no point does the performance feel like a tokenisation of Latin-American culture. This show is a true celebration, and one that every single cast member carries in their heart.
For me, the highlight was watching the fusion between Amy Campbell’s (she/her) and Tash Marconi’s (she/her) choreography and Keerthi Subramanyam’s (she/her) costuming, filled with nods to early 2000s fashion. No two costumes are the same, and no two characters’ choreography is identical, incorporating salsa, acro and street styles. This colourful mismatch seamlessly falls into place with the rich tapestry of musical influences. It leaves you in awe of Campbell’s ability to use the space to have such differing influences occurring at the same time. The result is a beautiful composition which highlights the breadth and depth of Latin culture.
Whilst a cultural consultant has become an expected requirement for any non-Anglocentric performance, this staging (the third iteration since producer Joshua Robson brought it to the Hayes Theatre in 2018, followed by a transfer to the Opera House’s Concert Hall in 2019) takes this a step further by engaging Latinx creators to join the original Australian creative team. Alongside cultural consultant Will Centurion (he/him), Clary Riven and Tash Marconi’s perspectives and skills take the show to whole new heights. Marconi also craftily matches the choreography to each ensemble member’s voice. The interspersed use of Spanglish is a nice touch too. These elements remove any implied expectation of who this performance is for – you either understand the Spanglish, or you learn to adapt; the way many immigrants have had to manage.
With a majority Latinx cast, this joyful staging is a case study for how culturally-correct casting really is possible on Australia’s mainstages. However, the lack of Afro-Latinx representation is a fly in the ointment, along with the absence of magical realism. In light of Miranda’s apology for the omission of Afro-Latinx representation in the film, there could have been an opportunity for this production to alleviate this concern. Meanwhile, the removal of magical realism also diminishes the influence of Latin-American artists in literary and theatrical discourse.
Regardless, the only thing hotter than the Fourth of July is this show and its suave cast. As a country that is so far removed from barrios and bodegas (suburbs and 7-Elevens, anyone?) it is very difficult to sidestep the cringe-factor of putting on any show set in an American city, let alone one dedicated to a Manhattan neighbourhood. This production of In the Heights steps up to the challenge with grace and eloquence, and shines a light on a culture and community that is often overlooked in Australia.
In The Heights is presented by Sydney Opera House in association with Joshua Robson Productions. It is playing a limited six-week season until August 25, 2024. Find out more and secure tickets over here.
Stay in the loop: sign up for our free Time Out Sydney newsletter for more news, travel inspo and activity ideas, straight to your inbox.