Robin de Jesùs, Karen Oliva and Lin-Manuel Miranda in In the Heights (Photo: Joan Marcus)

Javier Muñoz who took over the role of Usnavi on 2/16/09 (Photo: Joan Marcus)

When I saw this high energy show during its Off-Broadway run, it was already clear that this peppy, hip-hopping, hip swinging show was likely to dance all the way to Broadway. Jerry Weinstein's enthusiastic review (see below) was just one voice in a chorus of praise singing critics.

The idea of a big-time move was as irresistible as it was risky. On the plus side, here was a show that spoke to a young audience, with heretofore neglected Hispanic characters. It was new not only in terms of its ethnic identity but becasue the book, music and lyrics were created from the ground up rather than tied to a movie, a book, or established song hits. The hokey plot and the sanitized look and feel of this about to be gentrified ghetto in northernmost Manhattan (not a touch of graffiti, no drugs or other sense of danger) were not really a problem since that's what gave it the feelgood appeal of an old-fashioned musical

As for the risks: The cast, though talented, had no stars, except stars in the making. The size of that cast meant it would take a hefty budget to keep the show running (unlike Passing Strange, another musical, new in every way the musical genre can be new, that recently made the move from Off-Broadway to Broadway); there was also the question as to whether a show like this could attract enough of the tourists who figure so importantly in a producer's bottom line.

But the pluses outweighed the risk and by the time the six-month run ended, a move was more than a vague dream. It helped that the producers had plenty of experience taking atypical shows to the Rialto (Rent, Avenue Q and Drowsy Chaperone). They also had pockets deep enough to invest $10, million dollars.

Now this spicy musical has made the big leap. It's ensconced in the 1500-seat Richard Rodgers Theatre with its cast and creative team more or less intact. And, by golly it still answers to adjectives like vibrant, exuberant and compelling!

Except for a tweak here and a tweak there, the book remains a hokey collage without any especially unique tension and emotion building conflicts. The real leading character is the changing neighborhood which is about to lose many of its small businesses to gentrification. It's chief purpose is to serve a springboard for Lin-Manuel Miranda's zesty musical gumbo of rap, hip-hop, salsa, merengue, pop and traditional show tunes and for Andy Blankenbuehler's invigorating choreography. Miranda has added three songs which help to strengthen the second act story line. The title number which opens the show is still a knockout (but hardly the only one) and so are the singers and dancers.

Anna Louizos' lovely atmospheric set, complete with a light blinking George Washing Bridge, has grown to fill out the bigger space. With Howell Binkley on board the shifts in lighting throughout the show are sheer magic and enhance not just the sets but Paul Tazwell's colorful costumes. The band too has grown (from seven musicians to thirteen) and is now housed in a real orchestra pit and without the uneven sound mix problem of the 37Arts production.

With the performers for all but one of the singing and speaking parts on hand, the cast has made the move without a misstep. If anything, they're more integrated, and more animated and in tune with the material.

Lin-Manuel Miranda and his cousin Robin De Jesus again dish up lovable charm with cafe con leche. Mandy Gonzales and Christopher Jackson make a fine pair of semi-star crossed lovers. And since no traditional musical would be complete without a singing and dancing trio, we have a sassy group of beauticians— Daniela (Andrea Burns), the boss, Carla (Janet Dacal) and Vanessa (Karen Olivo).

This Manhattan street scene is rarely without a burst of performers exploding into another propulsive song and dance number. It gets to be almost too much and puts you at risk of getting overheated just from watching. Too bad there isn't a real Piragua guy like Eliseo Roman in the lobby to help you cool off with one of his mango-flavored snowballs.

BROADWAY PRODUCTION NOTES FOR IN THE HEIGHTS
Directed by Thomas Kail
Music & lyrics by Lin-Manuel Miranda
Book by Quiara Alegria Hudes
Music direction by Alex Lacamoire

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Cast: Lin-Manuel Miranda (Usnavi), Andrea Burns (Daniela), Janet Dacal (Carla), Robin de Jesús (Sonny), Carlos Gomez (Kevin-originally played by John Herrera), Mandy Gonzalez (Nina), Christopher Jackson (Benny), Priscilla Lopez (Camila), Olga Merediz (Abuela Claudia), Karen Olivo (Vanessa), Eliseo Roman (Piragua Guy) and Seth Stewart (Graffiti Pete).
Ensemble: Tony Chiroldes,Rosie Lani Fiedelman,Joshua Henry, Afra Hines, Nina La Farga, Doreen Montalvo, Javier Munoz,Krysta Rodrigues, Eliseo Roman, Luis Salgado, Shaun Taylor-Corbett, Rickey Tripp.
Swings: Michael Balderrama, Blanca Camacho, Rogelio Douglas Jr, Stephany Clemens
Arrangements by Bill Sherman
Choreography by Andy Blankenbuehler
Set design by Anna Louizos
Costume design by Paul Tazewell
Lighting design Howell Binkley (formerlyJason Lyons)
Sound Design: Acme Sound Partners
Running time: Approx, 2 hours and 20 minutes one intermission
Richard Rodgers Theatre 226 W. 46 St.
Tuesdays to Saturdays at 8pm, Sundays at 7pm, Saturdays & Sundays at 2pm
From 2/14/08; opening 3/09/08
Tickets: $21.50 to $111.50
Reviewed by Elyse Sommer at March 7th press performance