IN THE HEIGHTS is a Tony and Grammy winning, Pulitzer Prize nominated musical. And what a great introduction Sydney siders have to this smash hit show. Just pipped at the post by a Melbourne production in March, Penrith Musical Comedy Company (PMCC) came very close to having the Australian premiere. It’s a bold choice for the 60 year old company and they bring all their energy and enthusiasm to this NSW premiere.
Originally produced on Broadway in 2008, IN THE HEIGHTS is set in the Spanish speaking area of Washington Heights, NYC. It’s the hottest day of summer in the Barrio and Usnavi, the bodega owner, introduces the characters who will populate the story. They are a mixture of nationalities including Puerto Rican and Chilean. Usnavi is from the Dominican Republic. They are all protected and supported by Abuela, a Cuban matriarch and grandmother to all.
We meet Camila and Kevin Rosario who run a limo company; unmotivated Sonny who is Usnavi’s cousin; drama queen Danielle who runs a hair salon next to Usnavi, and Vanessa, the hot Latina who works for her and for whom Usnavi pines. Into the mix returns Nina Rosario who must tell her parents that poverty has driven her out of her studies at Stanford. Having Nina back is just the ticket for the non-Hispanic, non-Spanish speaker Benny who has loved her forever. The other silent character is a lottery ticket. Worth $96,000 it has been sold at the Bodega, but are love and money incompatible, and will it stop the changes that will cut at the heart of the community?!
Director Tina Jones has achieved a lot by delivering a very specific ethnic flavour to the Joan Sutherland Performing Arts Centre in Penrith. It’s a multicultural cast with an attention to detail about the ethnic content. The set has a grubby, lived-in feel with a wonderfully realised backdrop. The shorts and heels and short skirts and tights and a sexy red dress contrast very well with the boys’ jeans and sneakers and hats on backwards. There are some good accents and some really exciting ensemble dance pieces choreographed by Irene Toro and Kirra Lovering.
The style is salsa, rap and hip-hop. There are big production numbers and small intimate moments. Jones has made a lovely choice in allowing her cast to appeal directly to the audience. In the opening, Usnavi walks all the way downstage, looks out and sings directly to us. The audience is invited into this world and we see it through his eyes. The cast often appeal directly to us and that is why we care.
Amateurs all: the cast, crew, musicians, creatives and operators throw everything at the show. And all around their day jobs. It has to be expected that there would be some uneven aspects to the production, particularly in that tricky ‘present’ quality but Jones appears to know her cast well and each performer has a moment to shine.
As Usnavi, Stefan Jamal holds the show together. His singing is terrific and his dancing and movement has a unique, twisting conflict about it, especially when he is around Vanessa. Chrissy Mae Valentine as Vanessa is sexy and proud and she touches some lovely low notes. In “It Won’t be Long Now” Valentine strikes exactly the right emotion with her longing and conversational tone.
The other male lead is Liam Ferguson as Benny and he has charisma in spades. His well-rendered interpretation of the complicated “Benny’s Dispatch” not only suits his voice but allows him to use his boyish charm on Nina. And on the audience. His love interest, Nina, played by Kira Leiva, clearly expresses the regret and sadness of disappointing her parents. The way she crunches down and lunges and twirls in her anger and decision-making during “Everything I Know” is a show stopper. Their duet near the end of the show is lovely.
The emotional heart of the story is given a face early on in the show when Touraj Vaziri as Kevin sings “Inutil (Useless)” with pathos and bravado. Added to this is “Paciencia Y Fe (Patience and Faith)” by Diane Wilson as Abuela Claudia. Here, respect and female energy further the aspirational elements of the story.
It’s a very physical show, not just the dancing but in the character creation. Some performers don’t have great voices but they have attractive characters and some very sassy moves. I loved the way Blain Kaper as the Piragua Guy used his style, his smile and his lightness of foot. Particularly effective was Rachel Crane’s “Enough”. Her character Camilla is torn between father and daughter and she uses her body, actions and movement to try and find a middle ground. I really loved watching that sequence.
Unfortunately I was often just watching not listening. The audio mix was very disappointing and from a company that I have previously had the opportunity to praise. Something was wrong. The band was too loud and even the dialogue was an effort to understand. It was the topic of conversation among several groups at interval. Sad considering all the effort which went into putting this show before an audience.
However. Concentrated direction, cast enthusiasm and great writing will out and the vibrant, athletic, committed production by PMCC was well worth watching. I’m a proud Western Sydney resident and I have just joined their mailing list so that I won’t miss seeing this dynamic company in action on their next outing.
IN THE HEIGHTS played The Joan between the 1st and 9th May. The Company’s next show is THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE at the end of August.
For more about this Company visit- http://www.pmcc.org.au/
Yes I agree… A remarkably engaging show well executed by an enthusiastic and engaging cast. All kudos to director Tina Jones who has done a hell of a job… a truly ensemble production. Thanks everyone.