A joyful celebration of humanity, Lin-Manuel Miranda musical In The Heights champions the galvanising support of community and the rich tapestry of diversity. 

A far simpler and more modest affair than world-dominating hit Hamilton, 2008 musical In The Heights focuses on a handful of hot summer days in a little corner of Manhattan neighbourhood Washington Heights. Taking broad inspiration from Fiddler on the Roof, central figure Usnavi introduces the local traditions of the local families and identities, with their struggles against external forces of violence and gentrification serving as a microcosm of urban change in the new millennium.

Miranda’s original concept, music, and lyrics were consolidated by book writer Quiara Alegria Hudes, and the musical won four 2008 Tony Awards, including Best Musical, and was a finalist for the 2008 Pulitzer Prize for Drama. The plot may be relatively basic, with key developments heavily telegraphed, but the characters are richly and lovingly drawn, and are readily taken to heart by the audience. 

Miranda’s utterly infectious score blends Latin American rhythms with hip-hop and soul, and his razor sharp lyrics feature mind-bending rhymes and delicious wit. As with Hamilton, Miranda’s encyclopaedic knowledge of Broadway musical theatre allows him to embed his unique musical style within a traditional framework, bringing his work to a wide audience and preventing In The Heights from being dismissed as just a hip-hop musical. 

Melbourne has already seen In The Heights, with StageArt presenting a terrific season at Chapel off Chapel and then on the larger stage at National Theatre, St Kilda. Joshua Robson Productions had similar success with their 2018 season of In The Heights at Hayes Theatre, Sydney, presenting encore dates at Sydney Opera House Concert Hall. The production returned to Sydney last year, leading to this current tour that is co-produced by Joshua Robson Productions and the theatres. 

Working within necessary budget constraints, the production wisely channels its resources towards delivering a full cast and band. Set designer Mason Browne presents the necessary shopfronts and brownstones sitting beneath the backdrop of Washington Bridge. Lighting designer Jasmine Rizk adds strings of festive lights to Browne’s colourful bunting, immersing the audience in the carnival-like atmosphere. Costume designer Keerthi Subramanyam conveys the summer heat clearly establishes the individual styles of the generational characters.

With the clear focus being on performers, director Luke Joslin works his magic to highlight the full heart and soul of the characters. While the writing provides more rounded material for some, Joslin nonetheless brings the full company to life, with a strongly lived-in sense established for the community at the heart of the story. In particular, audience engagement is high with the two central romantic pairings of bodega manager Usnavi and upwardly aspirational Vanessa and young driver Benny and his boss’ university student daughter Nina. 

Working with some extraordinary triple threat performers, choreographer Amy Campbell delivers exemplary work that is a clear highlight of the production. An early standout comes with communal I Wish song “96000” with further spectacular dance seen in “The Club.” Act two takes fire with “Carnaval del Barrio,” which cleverly highlights the melting pot of cultures by utilising a range of proudly displayed national flags.

Collaborating with musical supervisor Victoria Falconer, music director Zara Stanton leads a smoking hot band of eight musicians. It is worth noting that the production respects and values the musicians enough to feature their names and instruments along with the creative team and cast on the promotional poster at the front of the theatre. Sound designer David Tonion ensures that Miranda’s intricate lyrics can be crisply heard in balance with the fabulous music. 

Ryan González leads the company in gently understated style as Usnavi, endearing the character to the audience with the vulnerability he shows in pursuing his romance with the sultry Vanessa. Olivia Vásquez impresses mightily as Vanessa, delivering strong vocals and wonderfully self-assured dance moves.

Mariah Gonzalez brings a tender youthfulness to Nina Rosario, affectingly conveying the load Nina carries while burdened with her family’s high expectations. Lively performer Ngali Shaw brings engaging charisma to the passionate Benny. 

A sharp dancer, Steve Costi also captures the cheeky humour of Usnavi’s younger cousin Sonny. Lena Cruz brings abundant warmth and heart to community grandmother Abuela Claudia.

Vanessa Menjivar imbues salon owner Daniela with cocky sass that covers a heart of gold. Tamara Foglia Castañeda delights as wide-eyed church-going salon assistant Carla. Alexander Palacio grounds patriarch Kevin Rosario with well earned weariness. Angela Rosero gives Camila Rosario a sturdy backbone to keep her beloved family together. 

Richard Valdez is an audience favourite as the ever present Piragua Guy, merrily spruiking his fruit flavoured ice treats to the grateful locals. Dayton Tavares displays his finely honed dance skills as Graffiti Pete.

Not only do the ensemble members dance up a storm, but they also perform gorgeous vocal harmonies and contribute characterfully to the vibrant community represented on stage. 

A song and dance extravaganza, In The Heights also serves as a very timely celebration of the rich cultural presence of immigrants. This welcome production is sure to thrill Lin-Manuel Miranda’s legions of local fans. 

In The Heights plays at Comedy Theatre, Melbourne until 6 September 2025. For tickets, click here. 

In The Heights plays at Home of the Arts, Gold Coast 12 – 24 September 2025. For tickets, click here. 

Photos: Daniel Boud (Sydney 2024)