WHEN THE SUN GOES DOWN

Its no secret that when it comes to In the Heights, I have been a huge supporter.  I thought that Tony Award winning creator/writer and original Usnavi, Lin-Manuel Miranda created a beautiful musical that was the perfect blend between classic and modern musical theatre.  The heart of In the Heights is classic:  it is a  show with recognizable and hummable tunes with a storyline that is simple: family and the journey of finding your way home.  There is a definable hero and heroine who are both trying to find their way yet it is also has very modern elements like infusing the beat and flow of hip-hop and rap into the show.  It reminds us that at the end of the day, none of us are all that different - we all come from families, we are all trying to make our way in the world while looking for our place in it.

Today, it was announced that after 1,185 performances, In the Heights will close on January 9, 2011*.  For a special two-week engagement beginning on Christmas Day, Miranda will once again reprise the role of Usnavi one last time.  If you are in New York, I highly recommend going.  There is magic in seeing a writer/composer performing their own work but to see this incredible show that Miranda lovingly created and nurtured since his days at Wesleyan University, is really something else.  I challenge anyone to tell me that 96,000 is not an electric, brilliant number:

As if In the Heights doesn't prove that Miranda is filled with talent, remember that  he not only created a Tony Award winning musical but he has also been known to educate young people through music on The Electric Company and Sesame Street, created the hilarious web series Legally Brown: The Search for the Next Piragua Guy (a spoof on the MTV Legally Blonde reality show) and also made a ten-year-old boy's dream come true with this.  

It will be a sad day when the Richard Rogers Theatre says farewell to In the Heights but...stay tuned for the film starring who else but...Lin-Manuel Miranda!

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*For all performances from January 2, 2011 – January 9, 2011 (exluding January 9, 2011 evening show) get tickets for as low as:
 
$78.00 for Orchestra/Front Mezzanine    
-or-
$48.75 for Rear Mezzanine A - F

Use code ITHLIN

Call Ticketmaster at 877-250-2929 and mention code ITHLIN 

IT NEEDS WORK

When it comes to the musical theatre casting game, I admit I'm super critical. For what reason other than I guess I fear the genre becoming over commercialized and losing (to me) what makes musical theatre so special. I guess I forget that there was a time when show music was mainstream made famous by the likes of the members of the Rat Pack. Then I wonder what purpose does it make for me to be that critical about casting choices? Am I that inflexible that I can't accept a new artistic spin on a performance? While some performers might not be ideal, is there anything really wrong with a new perspective? Isn't that new perspective part of what makes this an art form open up to interpretation and such? Back in the day, I was a critic for a Broadway website and I had it in for everyone. Instead of me liking a show until the performance gave me reason not to like it, I thought that a cast had to prove their worthiness to me. Why? How awful. Maybe I'm maturing and being more open minded. Maybe I'm realizing there's really no point in being that critical. Who am I helping by thinking that way? I can still believe there is a standard for a performance to live up to, I just don't have to be such a super biotch about it, right?

When I look at shows I've recently seen like In the Heights (when it was on tour here in LA) I remember being so ecstatic. Sure, I was thrilled to see Lin-Manuel Miranda reprising his role of Usnavi for the first time since he left the role in New York and he was tremendous. Yet independent of this brilliance, this touring cast was top notch. My fear was that they wouldn't be; my fear was that Lin-Manuel Miranda would be carrying the show and come on, what kind of faith is that in my favorite musical art form? So for me to feel so impressed and accepting was a big deal (because typically I think touring casts have a lot to prove). This cast proved to me how wrong I could be.

Last night, I saw the Live from Lincoln Center production of South Pacific and it too was just amazing. Sure, most of the original revival cast was intact. Noticeably missing was Matthew Morrison (Lt. Joe Cable) who was stuck in L.A. for some TV show commitment (haha) and couldn't return to his role. Andrew Samonsky is currently playing the Cable role on Broadway and was in this Lincoln Center production and he was amazing. To me, he had the chops for the role and even maybe more-so the look (in my mind as a "Lieutenant") than does Morrison. The difference is that I gave him a chance. He didn't have to be Morrison and not being so was ok. When I saw Aaron Lazar as Fabrizio in The Light in the Piazza on-tour, I actually think I might have loved him more than Morrison. For some reason though, the touring cast of South Pacific just didn't do it for me. I really wanted to like it and even when I got irked by certain aspects of the casting and performances, I still really tried to like it. There was something that wasn't so cohesive about the cast as a whole when they sat down here in L.A. in the performance I caught.

Nonetheless, these are examples of how replacement roles (and ones on tour) are important and how they really aren't so bad. Replacement casting is something I'm going to be considerate of and I'm going to stop being such a hard-edged-critical theatre snob (unless given a legit reason to be). I of course can still be a theatre snob, I can just stop being so...uber-critical about aspects of it. Right? Give the actors a chance, says I. They deserve it. Indeed.

THE OLD RED HILLS OF...WASHINGTON HEIGHTS

The end of an opening act¹:

God Bless the sight
Of the old hills of Georgia
The Old Red Hills of Home
(Kneel Down to)
Praise those who'd fight
For the Old Hills of Georgia
For those proud and valiant men
We'll sing "Dixie" once again
For the men of Marrietta
For the the brothers of Cobb County
For the fathers of Atlanta
For the patriarchs
Who gave everything for Georgia
And the Old Red Hills of Home

The end of Act 1²:

Look at the fireworks...
Look at the fireworks...
Look at the fireworks...
Look at the fireworks...
Light up the night sky...
Light up the night sky...
En Washington--
Look at the fireworks...
Look at the fireworks...
Light up the night sky...
Light up the night sky...
En Washington Heights!

Two vastly different shows that take place in eras that spans many, many years; two of my favorite modern musical theatre writers/composers whose styles are so very different. I listen to their work when I need inspiration because these shows elicit such different emotions and reactions in me. These shows never fail to remind me why I admire thes writers of these original musicals, what I love about the theatre and why I have chosen to do what I'm doing: bridging a gap and creating opportunities. Thank you, JRB & LMM!

1. The Old Red Hills of Home from Parade by Jason Robert Brown
2. Blackout from In the Heights by Lin-Manuel Miranda

CARNAVAL DEL BARRIO

Being so far away from New York, I find it incredibly gratifying when fantastic shows announce that they are touring and finally come into town. What is even better is when original cast members reprise their roles on tour and particularly when they make their way into LA. Ahh, a perk of living in the 2nd biggest city in the country! There are (naturally) business reasons why these actors choose to reprise their roles and I'm sure glad I get to reap these benefits! Recently, I had the good fortune of witnessing the reunited original cast of The 25th Annual Putnam County Spelling Bee when all nine actors sat for the LA run of the show at the Wilshire Ebell Theatre in 2007. It was an awesome, awesome theatre-going experience and I was thrilled that they came together for our little town. However, when it was announced that Lin-Manuel Miranda was joining the In the Heights tour during its LA run, I was elated! Ever since I discovered this show, I have been a fan of both it and its creator and star Lin-Manuel Miranda.

It was a great sight to see the diversity in age and ethnicity of audience members at LA's Pantages Theatre. Lately, the shows I've been attending consist of an older crowd and seems to lack diversity. Initially I thought that maybe In the Heights was a more modern show which attributed to the mix of audience members. However, I don't even think there was as much diversity in the audience at another modern musical - Spring Awakening at the Ahmanson a few years ago (as well as when I saw it on Broadway). Seeing such a diverse mix of ages and ethnicities at In the Heights reminded me that this was a show that was speaking to a wide range of people because of its story and its message. It was lovely to see the excitement from families and groups of friends or couples as they gawked and took pictures in front of the theatre. I saw a small group of high school students giggling, pointing (and swooning?) at photos of Miranda in the souvenir program and just loved the sight of it!

Sometimes, the anticipation of seeing a show outweighs what the reality of it is for me. Regarding In the Heights, I certainly was not disappointed. What a fantastic show! In the age of revivals and jukebox musicals (the latter of which I am not a fan), it is rare to find a quality original new musical and when I do, I hold tight. When these shows are really good, I have discovered that I really do embrace the differences that these new works have over the classics. While times change, styles change and music changes, stories do not. If told correctly, these stories can be retold in new, unique ways that have the opportunity to open a new generation or new groups of people to musical theatre. The story of In the Heights is not new; it is about family, love, self-discovery, life and finding your way home. Yet the stories are told using rap and hip hop hand-in-hand with ballads and soliloquies. In the Heights blends the old with the new infusing it with incredible energy that excitement. I have been known to be critical in my reviews of shows - maybe unnecessarily critical at times - but my criticism for In the Heights is (as far as I can tell) nonexistent.

When it comes to touring casts of shows, I have seen one too many shows fail because the casts as a whole is lacking. The creative team of In the Heights really cast some first-rate performers in this show. Maybe these actors were more encouraged or fueled by the energy from its creator and original Usnavi (Miranda), but I think its because they were really just that good. As I stated earlier, I was ecstatic when I learned that Miranda would be reprising his role of Usnavi for the L.A. run. He did not disappoint one bit and I just loved seeing him live, hearing him perform the character that he created and it was an amazing night. Miranda was energetic, completely in the moment, on point in his rhymes, his dancing and his overall performance. I found myself bopping in my seat to the music, sniffling and holding back tears during the more emotional scenes and appreciating what kind of work went into the show.

I think it is safe to say that I will try to catch one more performance of the show before it leaves at the end of July. I am looking forward to seeing what Miranda and Kenny Ortega do to In the Heights when it makes the leap onto the big screen. With Miranda starring in it and having creative control over the show, I can only imagine what he will bring to the newest version of In the Heights. What started out as a small three-day production at Wesleyan University has become taken off into something so fantastic! I am proud to support the show, its creator and really hope that others will feel the same. In the Heights is not your grandparents' musical, it is young, fresh, hip and hopefully will change the way you feel about musical theatre while preserving the traditions of the genre in its golden age.

For the record, if you want to love Lin-Manuel Miranda even more, revisit this post from Christmas 2008. Dreams come true and LMM & cast certainly made sure of that.

DREAMS COME TRUE

Regardless of how you feel about Broadway, watch:



and then read this (the excerpt/nutshell/impact of what happened is below ):

"At the end of the final take the cast began to clap for Nicholas, they completely encircled him and the cast kept clapping for him, they wrapped around him and clapped and clapped and clapped. The look on Nicholas' face at that point, the fact he was soaking up all that support, he was soaking up all the faith they had in him, at that moment the look on his face seemed like he could believe in his own dreams, he could go where he wanted to go, it was the most wonderful transformation, because in the beginning he was scared, but by that final moment,-that final take with them all around him, he was transformed." What a gift, a truly priceless gift.

What a heartwarming gift of hope and inspiration for the holidays. Thank you LMM, In the Heights cast & crew, Nicholas and everyone who made this happen! This is why the Broadway community is awesome (x 96,000)!

PACIENCIA Y FE

I am almost embarrassed to say that I am behind. Every year, I am very well aware of the new musicals that hit the Great White Way...and yet, I don't really catch onto any of them until the following season. Why, I'm not sure. I like to blame the fact that I'm on the left coast but that's really not a good excuse because I know which shows are buzz-worthy and critically acclaimed and starring Broadway's most talented...and yet, for some reason it takes an entire season before I invest myself in them. Its not like I am reading about these shows or performers before I decide to take the leap. Quite the contrary! Usually I am actually an entire season behind to begin with and am spending my time listening, digesting, understanding, and...geez, it sounds like I actually study these shows (ok, I suppose I sorta do). With that said, last week I finally bought and caught onto the wonder that is In The Heights.

I had heard of In The Heights, I watched the cast perform on the 2008 Tony Awards, and until then, I was unsure of the idea of the story having never seen the show or heard the music. All I knew is that on the telecast, Lin-Manuel Miranda was rapping. That's different.

"Hmm, that's interesting," I thought. "I wonder how that works. It probably works, but...rapping on Broadway? Hmm..."

Of course it "works", after all, In The Heights won several Tonys in 2008: best musical, best original score (Lin-Manuel Miranda), best choreography (Andy Blankenbuehler). Accolades aside, what I've appreciated about In The Heights is that it is a perfect combination of what Broadway was with what it has become. The music is fantastic and takes you into the world of Puerto Ricans living in Washington Heights -- it makes you want to get up and dance, makes you feel hopeful and for me, it felt so honest. This is one of those shows that you don't have to see, to know that it is going to be great.

I just re-watched the cast's performance on the Tony Awards of the songs In the Heights and 96,000 and they were amazing! The music and the choreography were incredible! One of the best things about In The Heights is that its not what most people envision a musical to be. Its fresh, vibrant, doesn't have "cheezy" music from your grandparents generation, it isn't a jukebox musical or based on a movie. All of it is original -- the concept, the book and music and even the style of music (for a Broadway stage) because In The Heights is a musical with freestyle rap and salsa dancing...with a theatrical influence and was the brainchild of Lin-Manuel Miranda during his college years at Wesleyan University.

Reading stories about people's inspiration completely fascinates me and Lin-Manuel Miranda's journey of going from a college production to off-Broadway to becoming a Tony Award winning musical is no different. In The Heights is Lin-Manuel Miranda's memory of growing up in Manhattan's Washington Heights on the Upper West Side. Somehow, he captured the essence of his neighborhood, from the music and sounds of the area, the people and then freezing these personal and unique moments as a musical on stage.


In The Heights has me thinking about musical theater as an art form and why artists choose to tell their story as a musical versus a film, tv show, novel or poetry. What makes one more effective a genre than another? I suppose in part some of the same reasons that musical move and inspire me while film doesn't really at all...whatsoever. There is something I imagine about the uniqueness of In The Heights that makes it special and come alive specifically as a musical. I wouldn't actually know having never seen it, but having listened to it (a lot) since I bought it...there's definitely something special about it. How could we get a real sense of the neighborhood without the music or the vitality of these actors? Beyond all of that though, what could be better than watching and listening to Lin-Manuel Miranda performing onstage? He certainly is dynamic and talent is something he will never be short of, I am sure of that!