Photos by DJ Corey Photography
Tucked away in a Shirlington theater, Spanish-language subway ads, working traffic lights, honking cars, and even part of the George Washington Bridge transport audiences from Virginia to Washington Heights for immersive and high-energy production of In the Heights—which some might know as “that other Lin-Manuel Miranda show.” This is a place where people hurriedly rush to
their jobs, café con leche in hand; a place where parents sacrifice for a better life for their children; where neighborhood gossip is always hot off the presses at the local salon; where young lovers dance to Latin beats and friends share an ice-cold Puerto Rican piragua treat to escape the summer heat. This vibrant community of immigrants comes alive under Signature’s brilliant creative team (including direction by James Vásquez, scenic design by Andrew R. Cohen, and choreography by Shani Talmor).
For those unfamiliar with this Tony-award-winning show, the plot centers upon a block of Washington Heights, where Usnavi (Ángel Lozada) runs a bodega with his younger cousin, Sonny (Nicolas Garza), and pines for Vanessa (Adriana Scalice)—an employee at the local salon who dreams of moving out of the neighborhood. Next door to the bodega, Abuela Claudia (Rayanne Gonzales), the matriarch of the neighborhood, dispenses heartfelt advice and delicious food in equal measure. Meanwhile, the Rosario family welcomes their daughter, Nina, back from college for the summer, not suspecting Nina (Victoria Gómez) has some bombshell news for her close-knit neighborhood and is developing a budding romance with Benny (Chibueze Ihuoma).
When the neighborhood learns that someone among them has won $96,000 in the lottery, there are an awful lot of dreams to fit in such a small theater—a theater which pulses with anticipation and tight choreography that includes both hip and salsa. (While Sonny affectionately insists that Usnavi dances “like a drunk Chita Rivera,” the reality is that the whole cast shines on the dance floor,
particularly in a riveting rendition of “Carnaval del Barrio.”) (Incidentally, this reviewer suspects that even a drunk Chita Rivera would dance circles around pretty much anyone, but I digress.)
While the cast is universally excellent, a few individuals especially stand out. Gómez’s portrayal of Nina feels younger and more earnest than I’ve previously seen that part played, and she’s well matched with Ihuoma’s sweet and sincere Benny; when they duet, Ihuoma’s velvety smooth voice makes you want to watch him sing absolutely anything. While Gonzales does not seem old enough to
possibly be anyone’s grandmother, she brings a warmth to the role of Abuela that transcends age and race; when she sings a powerful rendition of “Paciencia y Fe,” the moist eyes in the audience are a good indicator that she has become everyone’s grandmother for at least that couple of hours. Lozada is also excellent as Usnavi. He arguably plays the part a bit understated (a quality I also noted in the salon ladies, Daniela and Carla), but it’s a choice I did not mind—especially when paired with his very clear and steady vocals in such a challenging part.
A night at Signature is always a delightful time, but doing this particular show about diverse communities of immigrants at this particular time in history and in such close proximity to the nation’s capital feels like something more than good art. To paraphrase Sonny: “The rich are penetratin’ . . . We pay our corporations when we should be demonstratin’ . . . What about immigration? . . . Politicians be hatin’ . . . Racism in this nation’s gone from latent to blatant.” Heavy
stuff, but don’t worry; there are plenty of levity breaks in the show for laughter and ice-cold piragua.
“In the Heights” is at Signature Theatre’s The MAX through May 4, 2025. Running time is approximately 2 hours and 30 minutes, include one 15-minute intermission. Recommended for ages 8+. Signature does not admit anyone under 6. Tickets can be purchased HERE.
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