In the Heights

Signature Theatre

Photo credits: DJ Corey Photography

Lights up on Washington Heights: a block brimming with life.

Amid the summer heat and neighborhood bustle, Signature Theatre’s vibrant production of In the Heights delivered a story of dreams, family, community, and how they intersect. 

Ready to hop aboard the A-train and dive right in?

This Production

In the Heights is not just a show about individuals: it’s a show about the connections between individuals, and the community that manifests itself from those connections. So how did Signature’s In the Heights approach this integral topic of community? By placing the audience directly in the center of it. 

This show was performed in the round with four audiences set up to surround the central floor of the stage. From the moment I stepped into Signature’s MAX theater space, I was immersed into the lively New York city neighborhood of Washington Heights. 

Usnavi’s bodega and Rosario’s car service anchored opposite corners of the space. Signage for other struggling businesses lined the railings, and traffic lights hung over the middle of the stage. The floor, which was painted like a crosswalk to connect the two aforementioned buildings, acted as an urban playground for breakdancing, mingling, or sitting to reminisce about older days. Suddenly, thanks to Andrew R. Cohen’s ingenious set, the whole block was within arm’s reach. 

Except, not literally… Signature’s eagle-eyed employees made it very clear that stepping foot on stage was forbidden (for good reason).

Composer-lyricist Lin-Manuel Miranda first developed In the Heights while in college, and largely based the story around his own experiences growing up in Washington Heights as a first-generation Puerto-Rican American. Throughout his time at Wesleyan University and beyond, Miranda shaped the project and eventually brought it to mainstream broadway success, which kick-started his career. 

Listen, if that wouldn’t motivate you to do your homework, I don’t know what will.

To reflect the community’s rich cultural tapestry, Shani Talmor’s choreography represented a dynamic fusion of Latin, hip hop and ballet dance forms. Matched with soaring ensemble vocals in numbers like “96,000,” and “Carnaval De Barrio,” this show truly reached an energetic peak every time its cast was busting a move.

The balance between fun company numbers and gripping individual performances is often a tricky line to tow, but Signature’s In The Heights walks it perfectly. Take Nina’s ballad “Breathe,” for example. The trope of the “I Want” song has been done to death, and yet Victoria Gómez’s riveting performance made it one of my favorite numbers of the night. 

One of Lin-Manuel Miranda’s many musical gifts is his ability to overlap the unique melodic lines of different characters: think Hamilton’s “Nonstop,” or Encanto’s “We Don’t Talk about Bruno.” In The Heights utilizes this compositional device to the umpteenth degree, and it makes perfect sense why. What better way to demonstrate the interconnected dreams of these characters than by weaving their individual melodies together? 

Standout Performances

Every single performer in this production brought emotional depth to their character. Yes, you could argue that Usnavi essentially serves as a narrative lead, but if you’re going to describe In the Heights, you have to describe the whole block. 

Take Victoria Gómez’s stellar performance as Nina. I touched briefly on her rendition of “Breathe,” but Gómez’s bright vocals and gripping authenticity really did pierce the hearts of audience members as she grappled with her bittersweet return to the block. Her emotional journey was incredibly dynamic throughout, revealing the cracks in Nina’s confident facade. Gómez also played off of Chibueze Ihouma’s Benny with expert timing, and the two had remarkable chemistry from their first playful encounter. As time progressed, they crafted a tender relationship that made for some truly breathtaking moments.

Let’s just say the fireworks weren’t the only ones making sparks fly.

The tense dynamic between Nina and her family was also impeccably executed, as Rudy Martinez’s Kevin and Kristen Tarragó’s Camila (who swung on at this reviewer’s performance!) carried their respective roles with a commanding presence. While Martinez displayed a revealing moment of softness in “Inutil,” Tarragó affirmed Camila’s unshakeable role in the household with a powerful rendition of “Enough.” By the end, the performers demonstrated an impressive arc of growth as the Rosario family worked to mend their frayed relationships with one another.

Just across the way from Rosario’s car service was Ángel Lozada’s endearing performance of Usnavi, which captured audience members from his first light-hearted “good morning.” His command of the narrative was unquestionable, and yet Lozada effortlessly maintained the charmingly rugged spirit of his character. His interactions with Crissy Guerrero’s Abuela Claudia (shout out to another swing!) were incredibly witty, and it was clear their relationship was rooted in genuine love for one another. 

“Alabanza” was utterly heartbreaking, and the perfect example of how the tiniest details of this show made it stand out. As the block came together in mourning, even the candles that lined the fire escapes hung high around the block were aglow. The voices of the ensemble soared, and the audience couldn’t help but be swept away by the moving display. This show brilliantly managed to capture its highest and lowest moments in equal depth, all within the limited square feet of a single block.

Who Is It For?

At any show, we’ve automatically found a community by the time we take our seats in the audience. We applaud, we laugh, and we brace ourselves for the same emotional journey. Nowhere is this more true than at a production like Signature Theatre’s In the Heights. It’s a celebration of connection, culture, and history, as well as a fight song to keep our cities the beautifully diverse neighborhoods we love. 

If you’re looking to take a stroll down this New York City block for a day, make sure to grab tickets at sigtheatre.org. Use the code “STU25” for a 25% discount, and be sure to bring your own community along to experience this incredible work of art.