THE BASICS: The musical IN THE HEIGHTS, book by Quiara Alegria Hudes and music and lyrics by Lin-Manuel Miranda (whose current HAMILTON on Broadway is the latest hot ticket), continues through Sunday, October 11th at Musicalfare Theatre, 4380 Main Street, in residence at Daemen College. Because of construction, you may wish to enter the campus very conveniently from Getzville Road. Directed by Randall Kramer, it employs a realistically mixed cast (many from Raíces Theatre Company). Run time 2-1/2 hours with one 20 minute intermission (in the very elegant “Premier Cabaret” space). Wed & Thu at 7, Fri at 8, Sat at 4 & 7, Sun at 2. (839-8540). www.musicalfare.com
THUMBNAIL SKETCH: IN THE HEIGHTS on Broadway won four Tonys, including Best Musical and Best Original Score. Yes, it’s that good. Over the course of three sweltering hot days, an ensemble cast representing the largely, but not entirely, Dominican-American neighborhood of Washington Heights (near the George Washington Bridge) in New York City deals with love and loss, getting and spending, and explores the idea of “home.” The music is a mix of Latin beats with Hip-Hop and as with so many recent hit musicals, not only do things really move along, but every element seems organic.
THE PLAYERS, THE PLAY, AND THE PRODUCTION:
Without a doubt, after some recent performances (reviewed here), Musicalfare is back on track to the high level they set last season with THE DROWSY CHAPERONE and AIN’T MISBEHAVIN’. I went solo, because my partner was “once bitten, twice shy,” but also because we had recently seen IN THE HEIGHTS at Shea’s and how could a local production be as good as a national touring company?
If either of those concerns applies to you, I can tell you that it was wonderful – the singing, the dancing, the orchestra, the acting (and the set!) and I laughed and I cried and it gave me lots of things to talk about and at the end of the day, isn’t that what we want from the theater? And, Shea’s is so big but Musicalfare is so intimate. That’s another something special.
At intermission, as I was thinking about writing this review, the one word I kept going back to in my mind was “organic.” That word has some synonyms – “natural” and “unforced” – and to me means that every element, every bit of dialog, every song, every dance seems to rise naturally out of the situation and not be forced on us by the producers who need “another number… what have you got in your trunk?”
Where to start? The direction by Randall Kramer was spot on. Every role had a unique quality that was brought out without becoming a cartoon caricature. The choreography by Michael Walline showed once again that he is the master of small spaces. I’m wondering, after choreographing at the New Phoenix Theatre, did Musicalfare’s stage seem like a vast expanse? At any rate, the stage was crowded but it never seemed it. Theresa Quinn’s musical direction was tight. With her fellows from Local 92 A.F.M. Jim Runfola on Reeds, Dave Siegfried on Bass, and Joey Gonzalez on Drums, you swore that they had extra players hidden somewhere backstage. Even more amazing was that Musicalfare doesn’t have a pit. In other words, the musicians are behind the action, not in front. The leader doesn’t conduct the singers and yet every song, every dance was perfectly accompanied.
Dramaturgy is a funny word that is not quite the same as directing. The dramaturg sees the big picture and can relate that to the actors. Well, if you’re putting on IN THE HEIGHTS who better than Victoria Pérez, the Co-Founder/Artistic Director of Raíces Theatre Company (mission: “… to develop, nourish and produce modern and original works dealing with the Latino experience in order to preserve our ‘Raíces’”).
A big star of the show is the set. It’s the same design as you may have seen on Broadway or at Shea’s, but was cleverly re-engineered to fit the smaller Musicalfare stage. So, major kudos to Chris Schenk. I don’t know how he did it, but it was, to use a word that is overused, “amazing.” Sometimes Musicalfare sets are, um, “minimal?” This was not. At, it has surprises, including one at the end. Now, when was the last time a set brought tears to your eyes?
Lighting and sound were very professional and very respectful of the audience and the space. As you can imagine, with a score made up of Latin and Hip-Hop, things could go off the rails, but the quiet parts were audible and the loud parts were balanced. Not easy to do. Good job Chris Cavanaugh.
Costumes by Kari Drozd and Hair, Wigs, and Make-up Design by Susan Drozd seemed spot on to me. And, remember that this is a cast made up of Whites, Blacks, and Latinos that has to all fit in to the neighborhood. Good job (especially Camila’s hair).
Each and every one of the actors did well in the part . Of course, some were more experienced than others, but there were no uncomfortable moments and nobody, and I mean nobody, was on stage without being fully involved. Here’s who I liked and why (in alphabetical order): Marta Aracelis played Camila, co-owner of the taxi company and mother of Nina, with a blend of street toughness and love. I never once thought she was “acting” but must actually be Camila! Cecelia Barron (Ensemble) at first is easy to overlook, because of her small role and small size. Then she starts to dance! Her dance moves really helped bring the joy (in the face of some pretty rough economic realities) to the neighborhood. Taylor Carlson (Ensemble) can really shake it, too. Buffalo favorite, Arin Lee Dandes, who packs a big personality into a small frame, is wonderful as Carla, the bible studying hairdresser.
Arianne Davidow is yet another of those Niagara University graduates whose stage presence seems far beyond her age. As the sexy but vulnerable Vanessa, she has to deliver (and she does) because her character is a mirror to that of Nina. Elena Victoria Feliz is Nina, a central character, and her singing and acting chops are up to the task. Alejandro Gabriel Gómez adds authenticity to the cast as Sonny, and Rolando Martín Gómez as Nina’s father and the co-owner (with his wife) of the taxi company, brings total believability to the conflicting roles of business owner and loving father. Adam Hayes (Ensemble) kept his eye on the ball, which is tough for ensemble actors. Dudney Joseph, Jr. plays Benny, who is in love with the boss’s daughter, a tough role in real life and a tough role to play believably on stage and Joseph nails it.
Ricky Marchese as Usnavi, one of the central characters, brings a consistency to his role, a believability in the face of a number of setbacks. Bob Mazierski got big applause as the Piraqua Guy (selling flavored ices from a cart). Smirna Mercedes-Pérez as the kind and loving, but ailing Abuela Claudia, delivers a realistic performance. Mercedes-Pérez’s “day job” is registered nurse, and perhaps that informed her portrayal of a grandmother who doesn’t like to take her heart medication, but she played an older person without caricature. Nice! Victoria Pérez played Daniela, the owner of the hair salon, in a way a mirror role of Camila, the co-owner of the taxi company, and brought a nice combination of compassion and sassiness. Jon Yepez as Grafitti Pete, with his spray cans, opens the show and one of his creations ends the show, and he brings just the right amount of manic, creative energy to the role.
Every one of the characters has a depth and a back story that, even if not overtly explained, is there in their acting. That, of course, is a combination of good acting, good dramaturgy, and good direction.
Good job, Musicalfare and Raíces Theatre Company!
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!
Lead image: Musicalfare Facebook