Artistry in Bloomington’s new production of In the Heights by Lin-Manuel Miranda is a triumph in every way. The cast, the choreography, the musicians, and every aspect of the production design. I’ve seen the film but had never had the chance to experience this musical live. If you’re in the same boat, this is the perfect opportunity to remedy that. Director Maija Garcia skillfully captures the vibrant and complex sense of community at the heart of this story. The stage feels as though it is literally overflowing with the rich history of these characters and their barrio.

Set in the Washington Heights neighborhood of Manhattan, referred to by its residents as the barrio, the story centers on a community facing change as developers begin buying out existing businesses and gentrifying what was once a predominantly Latino neighborhood. Eli Sherlock’s set design is divided into thirds, highlighting three key locations. Stage right features Daniela’s hair salon, which is closing and moving to the Bronx after being priced out of the neighborhood. Stage left is Rosario’s Taxi Company, also struggling to stay afloat. At center stage, we see the entrance to Abuela Claudia’s apartment on one side and Usnavi’s bodega on the other. Above it all sits a rooftop where Abuela Claudia, “abuela” meaning grandmother, watches over the community. Each section tells its own story, yet the characters move fluidly between them, just as people would in such a tight-knit neighborhood.

Nina Rosario has returned home from college with the news that she has dropped out. Benny, who works for Nina’s parents and dreams of owning his own taxi company, shares a mutual attraction with her. Usnavi, the show’s narrator, is in love with Vanessa, who works in Daniela’s salon and dreams of escaping both the barrio and her alcoholic mother. Usnavi’s bodega serves as the neighborhood hub, drawing everyone in for coffee, conversation, and lotto tickets. He also looks after his younger cousin Sonny and cares for Abuela Claudia, who, though not his actual grandmother, is the spiritual matriarch of the community. As the characters pursue love, navigate financial hardship, and live their lives, tensions rise. When it’s revealed that a winning $96,000 lottery ticket was sold at the bodega, excitement builds, only to be followed by a Fourth of July blackout, looting, and strained relationships as Act One comes to a close.

A recent Facebook post from a seasoned theatermaker lamented the difficulty of finding work, with one commenter suggesting that youth often wins out. While tI’m sure there is some truth to that, this production is a reminder of how vital veteran performers are in shows like In the Heights. This is a fantastic production, I had tears in my eyes multiple times, and while the young cast is exceptional, the show would not resonate as deeply without the powerful performances of Pedro R. Bayón and Lisa Vogel as Mr. and Mrs. Rosario, and Jen Santoro Rotty as Abuela Claudia. They bring a depth and emotional weight that comes from years of experience, grounding the production in something profoundly human.

the surprise in the younger cast is Andrés-Román Wood as Usnavi, not because of any doubt in his ability, but because I don’t think I’ve ever seen or heard of him before. He is terrific in the role and a performer I’ll definitely be watching out for going forward. As for the rest of the cast, it’s nearly impossible to single out just a few. Believe me, I tried. Raquel Ponce as Nina, who wowed audiences earlier this year at Lyric Arts in Mamma Mia!, is excellent, as is Chris Owusu as Benny. The two share wonderful chemistry, amazing voices, and Owusu, in particular, is an electrifying dancer. Then there’s Julia Diaz as Daniela, whose performance of “Carnaval del Barrio” is a showstopper. But wait, isn’t there something really special about what Pierce Brown does with the character of Sonny, this young attitude that provides so many added touches of humor? Oh, but come on, how do you not mention Janely Rodriguez as Vanessa… you see the problem? There are eight more members of the cast, and they all bring something incredible to the production.

I do want to highlight Eli Sherlock’s set design. After what seems like a year or two of very bare-bones sets, though effective and, in these days of struggling finances for theaters, completely acceptable, it was nice to see a really well-built and extensive set again. It’s very impressive and well thought out, a thing of beauty. I also cannot fully express how wonderful Abby Magalee’s choreography for the show is, and again, what an incredible job this cast does in executing her moves.

In the Heights is overflowing with incredible songs, dynamic dance numbers, moving performances, and a powerful message about community and cultural legacy. I mentioned I had tears in my eyes multiple times; those were mostly the joyful kind. This is an uplifting and positive show that focuses on the richness of community over the riches of material things.

In the Heights runs through August 23 at Artistry in Bloomington. For more information and to purchase tickets, visit https://artistrymn.org/intheheights.

I want to alert you faithful readers to a new Website that has just started up in the Twin Cities. It’s called 79 Seconds on Stage and it is a free and full guide to local theatre in the Twin Cities.

I’ve been poking around on the site and I think it’s just what the Twin Cities Theater scene needed. I hope you’ll check it out, if you do I think you’ll find it a site that becomes part of your routine. You’ll find links to all the shows happening and even links to reviews of those shows. I’m not sure how they are doing this, but I hope you will all show them how great it is by utilizing it.

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