In the Heights at the Tampa Bay Performing Arts Center Review

“In the Heights” is both unlike and EXACTLY like almost every other musical I’ve gotten a chance to see.

The show opens with a crowd-pleasing number that introduces all the characters. Act I ends with conflict that gets resolved by the conclusion of Act II – but not before a popular character dies. I could be talking about “Rent”, “Spring Awakening” or any number of popular and terrific productions.

Lin-Manuel Miranda wrote the music and lyrics for “In the Heights” and originated the role of Usnavi, a charismatic bodega owner in Washington Heights, N.Y. The neighborhood itself is somewhat of a character (the deceptively simple stage design is VERY effective) and houses the rest of the cast.

Kevin and Camila own and operate a car service – with help from loyal go-getter Benny - and dedicate a major portion of their lives to providing for their bright daughter Nina, who has to figure out a way to tell her parents that she recently dropped out of Stanford. Meanwhile, Vanessa dreams of getting out of the barrio and buying an apartment downtown, Usnavi’s cousin Sonny is perfectly happy where he is, and Abuela Claudia just likes playing lotto.

Where “In the Heights” goes gloriously right is in the way it delivers what we’ve all seen many times before.

Miranda’s musical brilliantly fuses Latin music styles - like salsa and merengue - with Broadway conventions. (This show is actually the first time I’ve found reggaeton tolerable.) The story – which is basically told in Spanglish – also remains accessible to all audiences despite containing a wealth of details specific to Hispanic culture. (Abuela didn’t appear to actually be anybody’s grandma, the ever-present Piragua Guy, and the hypocritical racism against other minorities.)

I got a chance to check out this show in what turned out to be the opening night of its first national tour. The crowd was REALLY into it and the excellent cast seemed to feed off the energy.

Kyle Beltran was very good as Usnavi and did an excellent job with the character’s poetic rap-speak delivery. (THIS is what rap and hip-hop artists could do if they used their talents for good instead of for strippers and guns.) Rogelio Douglas Jr. brought a nice R&B flavor (and serious musical theatre chops) to Benny, and his romance with Arielle Jacobs’ Nina managed to be both sweet and hot. Elise Santora brought great warmth to Abuela Claudia, while Shaun Taylor-Corbett basically steals every scene he’s in as the immature-yet-well-meaning Sonny. I wasn’t too wowed by Yvette Gonzalez-Nacer as Vanessa. I was more impressed by sassy salon owner Daniela.

Still, what really puts this show over the top is the joy, enthusiasm and compassion pouring out of the stage, even when the show explores serious subjects like a father’s helplessness at repeating his own father’s mistakes and the sick feeling of letting down everyone who’s counting on you.

I mean, even the second-act death of that crowd-pleasing character is handled more as a celebration of life. This was actually the first Act II in recent memory that didn’t make me want to completely slit my wrists.

“In the Heights” is a terrific musical that tells a familiar story in a thrilling, affecting way. Even if your Spanish is limited to “Hola” and “Adios”, you should check it out.

This show is for everybody.

In the Heights…A