The 'undeniable appeal' of In The Heights at the Southwark Playhouse

By Helena Payne

In The Heights is a multi-Tony award winning musical directed by the unquestionably talented Luke Sheppard in the very appropriate location of Southwark Playhouse, but I genuinely didn't think it would strike any chords with a British audience or with a British cast. Just when we felt musicals were becoming too self-aware and self-satisfied In the Heights marks a shift back to the very traditional story of The American Dream, although re-imagined for a younger generation. The story has moved on though provoking questions such as, if you define yourself by your struggle, who do you identify with when your dreams come true? It is a celebration of the strength of community and an honest and gritty portrayal of the frictions between different cultures stacked on top of each other in difficult circumstances. I thought perhaps the earnestness of this “rags to riches” story could have had a few British toes curling, but the desperate passion of the supremely talented cast imbued every moment with undeniable appeal.

In the Heights is certainly “buzzing” at the moment but upon investigation I learned that Lin-Manuel Miranda, the show’s writer and original lead first staged a performance of In the Heights in 1999. What we see is testament to the relentless work and development of the piece. The writing is tight, not a syllable wasted and the stories interweave gracefully like a Shakespearean pastoral. His characters are fully fleshed out with believable dreams, aspirations and failings. The central axis of the Washington Heights community is certainly Abuela Claudia played with charm and verve by Eve Polycarpou. Indeed, the strength of matriarchy is firmly established through her warm supportive presence and confirmed in Josie Benson’s heart-stopping, earth shaking number Home, where she (lovingly) berates her husband and daughter for not sharing their problems with the family unit.

The notion of home undoubtedly affects all the characters. They frankly discuss their mixed heritage deriving humour from what can sometimes be a confusing issue. As a child of immigration myself, it made me smile to see great comedic timing from Sarah Naudi as Carla attempting to quantify her ethnicity, something I recall; trying to explain to school photographers why I was actually related to my brother and sister. Christina Modestou as Nina, the heights-girl-done-good having earned a scholarship to Stanford, grapples with this topic with truth and tenacity. Hers is no Cinderella story, but one built on hard work and sacrifice. There is no bitterness or shame afforded to her humble beginnings, just surprise and disappointment that when she realises her ambitions, reality does not quite match her childhood dreams. She confides in her lover Benny that she obscures parts of her background from those at Stanford who are accustomed to weekend chalet breaks and jet-set lifestyles. Miranda seems to suggest that regardless of academic achievement it can often feel as if social mobility remains impossible.

However, Nina’s freedom to write her own story and follow her dreams has been facilitated by her parents’ going without. Upon finding that her scholarship has been retracted after working several jobs to stay afloat and neglecting her studies, Olivier award-winning David Bedella, sings dolefully about feeling useless. He explores the moment that parents must start giving up absolute responsibility for their children and can no longer be held accountable for their failures as well as their triumphs.

In the Heights presents beautiful examples of inter-generational relationships. The significance of family is apparent when faced with life’s trials, although it optimistically suggests that family can be more than blood ties. However to paint the community as a chirpy United Colours of Benetton affair without friction and rancour would be inaccurate. Nina’s father openly rejects her choice of lover as an African-American he “will never be one of them,” and we feel we might be back with Shakespeare and a blinkered Capulet. However, this is Washington Heights, where people must evolve and learn to survive, and it is heart-warming to see the Star-crossed lovers (from the same block) gauge the acceptance and support from their community.

Among many brilliant performances, it was Victoria Hamilton Barritt who really captured the Puerto Rican spirit. Her sassy Daniela, had me literally in tears, with cut-glass comic timing and an impressive command of the stage, she dominated when she was permitted and worked fantastically as part of the ensemble with strong choices that really had the audience on side. Hats must also be taken off to the choreographer Drew McOnie, who captured the frenetic energy of these individuals living as they describe themselves on the top of the world. Every gesture is wild and heartfelt and fills the intimate space of the Southwark sucking you into the action. Indeed, despite sitting four rows up the raked seating, I found myself ducking and weaving as the ensemble flung themselves around the stage. Lighting Design by Howard Hudson was especially innovative. In keeping with the urban feel, there were numbers beautifully lit by mobile phones or luminous glowing coffee cups reminding us that there can be as much beauty in our urban environment as well as the natural world if we are willing to see it. Indeed, bold lighting states and blackouts signified transformative power and the heat of which the cast frequently complained was palpable from red and amber glow.

So is In the Heights relevant to a British audience? Resoundingly yes. We feel privileged to have been invited into the intimate community of Washing Heights but can also easily recognise ourselves in these very human stories. Usnavi, captivatingly played by Sam Mackay provides the lens of an Everyman with whom we salsa through their world. It is the next contribution to Miller’s work on The American Dream, and although may not be the answer, is certainly a much more positive instalment. The atmosphere crafted by Sheppard is intoxicating and addictive and to be honest I am tempted to return. It was such a joyous occasion and although focus was clearly on the microcosm of Washington Heights, it was also broadly a celebration of humanity, and I think we can all identify with that.

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