Live Review: In The Heights @ Comedy Theatre, Melbourne

Lights up on Melbourne’s Comedy Theatre, where Lin-Manuel Miranda’s In The Heights bursts back onto the stage in a dazzling display of rhythm and colour. As a winter chill grips the city, the perfect antidote arrives in a wave of Latin heat.

Pop-up Bodegas and Piragua Bars greeted theatregoers on arrival, an immersive touch that brought a taste of Washington Heights to Melbourne. Yes, piragua — an icy Puerto Rican treat — served in the heart of winter. But no one seemed to mind. The warmth radiating from the stage was more than enough.

Set over three days, In The Heights tells the story of a tight-knit Latinx community on the brink of change. Full of hopes and sueñitos (little dreams), the characters navigate love, ambition, and the meaning of home as their vibrant neighbourhood faces gentrification.

Presented by Marriner Group and Joshua Robson Productions, In The Heights returns to Melbourne ten years after its Australian debut at Chapel Off Chapel. Directed by Luke Joslin, this vibrant new production will play for six weeks before heading to the Gold Coast.

Before dazzling Melbourne audiences, or anywhere else for that matter, In The Heights journeyed from the dorm rooms of Wesleyan University, Connecticut, to the bright lights of Broadway. The show is the brainchild of Lin-Manuel Miranda, the Pulitzer Prize-winning composer, lyricist and performer who revolutionised modern musical theatre. Long before Hamilton changed the game, In The Heights laid the foundation.

Though they tell very different stories — one set during a sweltering Fourth of July weekend in mid-2000s Upper Manhattan, the other in Revolutionary-era America — In The Heights and Hamilton share more than just a creator. They are united by Miranda’s linguistic dexterity, hip-hop sensibilities, and deep connection to the immigrant experience.

Thematically, both protagonists are Caribbean orphans driven by questions of legacy and belonging. Usnavi, a young Dominican-American bodega owner in Washington Heights, is caught between honouring his past and building something lasting for his community. Like Hamilton, he is shaped by loss, fuelled by ambition, and determined to leave something meaningful behind.

In both shows, Miranda centres immigrant voices. The line “Immigrants, we get the job done” from Hamilton drew raucous applause for good reason. It’s a sentiment echoed throughout In The Heights, where nearly every character is chasing their version of the American Dream while holding tightly to their cultural roots.

The musical went on to earn thirteen Tony Award nominations, winning four, and was adapted into a 2021 film.

All of that history roars back to life onstage at the Comedy Theatre, and this new Australian production doesn’t just honour the show’s legacy; it injects it with fresh energy.

“I like this more than Hamilton,” whispered one audience member to another during intermission. It’s not hard to see why. The production wraps its arms around you like a hug from an Abuela.

Mason Browne’s set places us instantly in the heart of Washington Heights, with brick facades, fire escapes, and the iconic George Washington Bridge looming in the background. At its centre is Usnavi’s bodega, the heartbeat of the block, flanked by familiar neighbourhood staples like Daniela’s hair salon, complete with a framed photo of Latin pop icon Selena.

The opening number, In the Heights, builds with infectious energy, setting the tone and introducing Usnavi. Ryan González reprises the role with an instantly likable presence. Part narrator, part barista, Usnavi anchors the show as neighbours stream into his bodega for their morning café con leche and lottery tickets. Here we meet much of the core ensemble, a community brought vividly to life by a standout cast. Olivia Vásquez returns as the driven and magnetic Vanessa, joined by Ngali Shaw as Benny, Steve Costi as Sonny, and Lena Cruz as the beloved Abuela Claudia, each bringing heart and nuance to this bustling corner of Washington Heights.

What follows is a two-and-a-half-hour snapshot into the tight-knit community. Mariah González’s Nina carries the pride of her block to Stanford, only to return after dropping out. In Breathe, the weight of expectation becomes palpable: a first-generation college student overwhelmed by academic and cultural pressures.

González delivers a layered performance, capturing Nina’s internal panic beneath a composed exterior. Meanwhile, Benny, who works for Nina’s father, navigates the complexities of their rekindled romance, balancing love with familial approval. Alexander Palacio delivers the evening’s most gripping performance as Nina’s father, Kevin Rosario, in Inútil (Useless), channelling frustration and heartbreak with powerful intensity.

The show unfolds as a vibrant tapestry of interconnected lives. Vanessa dreams of escaping downtown, her chemistry with Usnavi simmering beneath the surface. Vásquez shines in It Won’t Be Long Now.

Two songs linger long after the curtain falls. No Me Diga (You Don't Say), where salon sisters Daniela (Vanessa Menjivar) and Carla (Tamara Foglia Castañeda) turn juicy gossip into musical gold, and Piragua featuring Richard Valdez, who steals the spotlight as the Piragua Guy.

The ensemble bursts to life in 96,000, a dynamic number that matches the relentless energy and drive of Hamilton’s Non-Stop. Ironically, the show’s standout lighting moment comes during the Blackout sequence, where Jasmine Rizk’s design transforms the theatre with fireworks seemingly exploding over the audience, leaving a breathtaking impression.

Act II takes a more reflective turn, laced with the kind of bittersweet irony that feels pulled from the lyrics of an Alanis Morissette song. Usnavi grapples with a profound revelation amidst a neighbourhood blackout and sweltering heat, culminating in Carnaval del Barrio, a joyous celebration of community solidarity. This pivotal moment becomes the backdrop for deep introspection, leading Usnavi to make a decision that reshapes his understanding of home.

Unlike Hamilton, which is sung straight through, In The Heights weaves in spoken dialogue to deepen character relationships. But it’s the fusion of music and movement, under Zara Stanton’s musical direction and Amy Campbell’s choreography, where the show truly ignites.

The score blends hip-hop, salsa, merengue, and soul, brought to life through Campbell’s dynamic choreography, which simmers like sun-baked asphalt on a midsummer day. Explosive salsa sequences and slick hip-hop rhythms unfold with electric precision, capturing the pulse of Washington Heights and transforming story into motion.

So, can a story rooted in the Washington Heights Latin community truly resonate halfway across the world in Melbourne? The answer is a resounding yes.

Melbourne's multicultural fabric ensures In The Heights finds a welcoming audience. The show pulses with universal themes of ambition, home and identity — striking a chord across cultures, while steering clear of violent stereotypes that have long defined earlier Latinx portrayals in musicals.

Instead, it broadens the narrative, offering a rich, authentic, and joyful celebration of community and culture. Whether you're a first-generation migrant, someone chasing a dream, or simply trying to find your place in a changing world, this is a story that deeply connects.