Gateway’s ‘In the Heights’ Is a Celebration of Community

In the Heights, conceived by Lin-Manuel Miranda with book by Quiara Alegria Hudes, is not a musical driven by story in the way that shows like Chicago and Camelot are. Rather, it is an intimate snapshot of a barrio in Washington Heights — a looking glass into a neighborhood of people with relatable goals and struggles — told with heart and humor, an eclectic soundtrack, a little bit of camp and a whole lot of nostalgia. When telling stories this reliant on that sense of community, The Gateway team is at an advantage, with their familial vibe stemming from a close-knit roster of actors, designers, crew and staff, many of whom live together on the organization’s Bellport campus.

Before Gateway’s latest production begins, audience members are likely to marvel at the detailed set design, which captures the look and feel of the show’s urban setting with its towering brick apartment buildings, subway entrance and three impressively detailed storefronts: the Rosario’s car service company, a bodega and a hair salon. Working at these businesses are the show’s main characters, but before delving into their roles and portrayals, it’s worth noting how the large ensemble breathes so much life into this cross-section of Washington Heights. Background characters are frequently seen going about their daily lives, taking their child for a stroll, patronizing the local businesses or gossiping from their second-story apartments, all of which sells the feeling of a realistic lived-in community.

It should come as no surprise that a Lin-Manuel Miranda musical would feature at least one rapping character, and for this production, that honor is bestowed upon Usnavi, the main character, narrator and owner of the neighborhood’s struggling bodega who’s dreaming of a better life. Cast in this critical role is Ryan Alvarado, whose resume includes a national tour of Hamilton and a regional production of In the Heights. Verse after verse, the rhymes flow out of Alvarado with an effortless swagger, starting with the show’s opening spectacle, “In the Heights,” which effectively establishes the show’s central cast, their goals and the barrio they call home.

With the first scene consisting of mostly rapping, Chelsea Zeno’s introduction as Vanessa nearly catches the audience off guard with the power and tonal quality of her singing voice. Vanessa’s goal in the show is to secure her first apartment, and to leave her old life and salon job behind. Sadly, as one of the most relatable characters, Vanessa doesn’t get as much focus as Zeno’s excellent portrayal warrants. When she is on stage, it’s often to serve as Usnavi’s love interest — not that anyone is complaining about their endearing duet “Champagne.”

The show’s second will-they-won’t-they couple is that of Nina and Benny, portrayed by Alia Munsch and Christian Brailsford respectively. This pair has a more compelling dynamic, and the creators clearly know it. As the only non-Latino who also speaks little to no Spanish, Benny is set apart immediately when he’s introduced as a star employee at Rosario’s, which is owned by Nina’s parents. When Nina, the first in her family to attend college, returns home a dropout, having been unable to maintain her grades while working two jobs, she begins to distance herself from her parents and develop a closer relationship with Benny. When Kevin Rosario objects to his daughter dating a non-Latino and Benny subsequently loses his job, the couple erupts and must determine whether a steamy romance or bitter heartbreak lies ahead.

To balance the show’s tense moments, Graffiti Pete and Sonny, played by Mateus Barbosa da Silva and Felipe Cristancho Rodriguez, provide fun, campy comic relief. However, the prize for best comedy duo rightfully goes to the performances of Michelle Alves and Juliana Andrea Betancur as Daniela and Carla. Daniela is the barrio’s main source of gossip and carries herself as if she’s the boss, inside and out of her salon. Her flare for the dramatic — yelling in rapid Spanish when she’s upset — may not be for everyone, but for those of us with relatives like her, Alves’ fiery performance is delightfully uncanny. Almost always accompanied by her simple-minded moral compass Carla, Alves’ Daniela plays off Betancur’s whimsical performance to hilarious effect.

Throughout both acts, several supporting characters are given their moment in the spotlight. The best among them including Rubén Flores soulfully singing Kevin’s “Inutil,” Francisca Muñoz getting her much-deserved moment to sing Camila’s intense “Enough” and Sydia Cedeño moving the audience with Abuela Claudia’s passionate “Paciencia y Fe.” Most shocking to those unfamiliar with In the Heights, when the unnamed shaved ice vendor — Javier Garcia’s part simply listed as Piragua Guy — rolls his cart up to center stage, he proceeds to belt out “Piragua” with the bellowing force of a celebrated opera singer.

This production has a welcome abundance of electrifying numbers with spectacular sights and sounds. In the middle of Act 1, there’s a song with such high production value and mesmerizing choreography, that it may fool audience members into thinking it’s the traditionally big Act 1 finale. And yes, somehow, the final song before intermission, “The Club/Fireworks,” tops everything before it. It even carries into the mid-act break, so there’s no need to be alarmed if police sirens or car alarms are heard during intermission.

The greatest highlight of the show, “Carnaval del Barrio” in Act 2, is where The Gateway proves that community is not just the central theme of In the Heights, it’s a core component of their organization. In the number, the ensemble channels the vivacity of Brazilian Carnaval with a grand display of samba dancing accompanied by the waving of flags from across Latin America. It’s a beautiful moment of pride for any audience members with familial ties to Colombia, Dominican Republic, Mexico, Guatemala, Cuba, Brazil and neighboring countries. And, with the surprise inclusion of a rainbow flag waved by nonbinary actor/assistant dance captain Marina Vidal, it’s a proud moment for the LGBTQ+ community, as well.

Perhaps it shouldn’t be surprising. The Gateway has long championed a high level of inclusivity and support for queer individuals, with productions like Kinky Boots and The Adventures of Priscilla, Queen of the Desert focusing on themes of sexuality, gender and acceptance. Even in shows like In the Heights, where such themes are not directly addressed, sharped-eyed audience members are likely to notice same-sex couples and LGBTQ+ representation in the ensembles of many of their productions.

In the Heights is a celebration of Latin American culture, dance and music, offering a variety of Latin-infused genres including showtunes, ballads, rap and dance music. Above all, the production is an uplifting testament to the strength of community — both in this fictional imagining of Washington Heights and at The Gateway.

The production runs through April 14 at The Gateway Playhouse in Bellport. For tickets and more information, visit thegateway.org.