Review: IN THE HEIGHTS Returns to Musical Theatre West

Enough time has passed that there are actual people that exist that didn't know that before his hit Tony Award-winning historical touchpoint HAMILTON, theater royalty Lin-Manuel Miranda actually had an earlier hit to be proud of that debuted several years before that also received shelf-fulls of accolades.

Bursting with contagious rhythm, irrepressible heart, and an abiding sense of community pride, Miranda's Tony Award-winning 2008 original Broadway musical IN THE HEIGHTS remains, arguably, one of the most vibrant and emotionally resonant contemporary musicals to emerge from the early 21st century. 

With music, lyrics, and original concept by Miranda and a book by Quiara Alegría Hudes, this highly spirited show (which first debuted in 2005 in an out-of-town tryout) is a joyous, deeply affectionate portrait of life in Manhattan's bustling Washington Heights neighborhood—a lively cultural mosaic where immigrant diaspora dreams, generational tensions, and the daily hustle toward a better future interweave under the sweltering heat of a New York summer hampered by a city-wide blackout.

For Musical Theatre West, this current 2026 production of the musical—which continues performances at the Carpenter Performing Arts Center in Long Beach through April 26, 2026 under the direction of Jesse J. Sanchez—is an anticipated return of a musical that this company first staged back in the Fall of 2017, which back then was a well-received production that became their highest-grossing show of that season. 

This fresh revisit feels quite similar to that earlier production, down to the use of the original Broadway sets which feel like living, breathing characters in the show, too (the only change I noticed on this set is a subtly-placed "No ICE" placard in the back of the bodega). Even one of the actors from that 2017 production, Mario Rocha, has returned almost a decade later to once again play cab company proprietor Kevin Rosario. 

In essence, it's nice to come home to something comfortably familiar.

At the center of the show's criss-crossing collection of stories is Usnavi—played winningly by longtime HAMILTON alum Rubén J. Carbajal—the charismatic proprietor of a small corner bodega who serves as the musical's narrator and emotional anchor. Usnavi spends his days dispensing café con leches, lottery tickets, and neighborhood gossip while quietly pining for the stylist next door and nurturing his own dream of returning to the Dominican Republic to rebuild his late father's seaside bar. But his dreams must be deferred because under his care is younger orphan cousin Sonny (the charming Adam Leiva) a restless teen who has a penchant for back-talk.

But luckily, Usnavi's life in economically-modest Washington Heights, is made tolerable by the people in his periphery. 

All around Usnavi swirls a lively community of friends, family, and neighbors: Abuela Claudia (the sweet Suzanna Guzmán), an aging Cuban immigrant that Usnavi frequently worries over; Vanessa (the fierce Angelica Lozada Ramos), a determined aspiring fashion designer longing to escape the barrio for downtown opportunity; Nina (the lovely-voiced Amanda Aceves-Lopez), the barrio's once-promising "golden child," who has returned home for the Summer from her freshman year at Stanford University, burdened with doubts about her place in the world while trying to make her doting parents Kevin and Camila (Mario Rocha and Elvira Barjau) proud; and Benny (the confident Antwone Barnes), the hardworking dispatcher whose rekindled romance with his boss' daughter Nina further complicates everything. 

Next door to the bodega, a salon owned by Daniela (the impressive Veronica Vazquez-Jackson) is in its final week at the location, forced out due to increasing rents. Of course, the gossip trading with employees Vanessa and Carla (scene-stealing Rianny Vasquez) doesn't seem to slow down the march of progress.  

Over the course of several transformative days—punctuated by the aforementioned massive summer blackout, some unexpected revelations, and the ripple effects of a winning lottery ticket—the neighborhood confronts the fragile nature of dreams, the meaning of home, and the power of community solidarity.

Musically, the rousing score—conducted here by the baton of musical director Rod Bagheri—is a dazzling hybrid of hip-hop, salsa, merengue, R&B, and traditional Broadway lyricism, reflecting both the cultural identity of its characters and the contemporary pulse of urban life. Miranda's propulsive rhythms and Hudes' emotionally grounded storytelling fuse seamlessly, creating a theatrical language that feels both exuberantly modern and deeply rooted in the classic tradition of character-driven musical storytelling. Songs like "Breathe" (which gets me crying every time, particularly with its poignant lyrics), the powerful "Paciencia y Fe," the party-filled "Carnaval del Barrio," and the electrifying title number all reiterate a vivid sonic tapestry that celebrates cultural heritage while capturing the restless energy of ambition and perseverance.

What elevates IN THE HEIGHTS beyond a simple coming-of-age narrative is its richly layered sense of community. Rather than centering on a single protagonist alone, the musical thrives as a tapestry of interwoven lives, with each character's portraits contributing respective, individual distinct voices to the larger collective, universally relatable story. In that regard, the show stands as an exceptional showcase for a cast ensemble—a feat winningly accomplished by this production's harmonious company of actors, despite a few forgivable technical gaffes that threatened to mar their talents during the show's recent first preview performance. 

Gloriously on display, the residents of Washington Heights move, sing, and breathe as a collective organism—neighbors leaning out of apartment windows and fire escapes, dancers filling the streets with hypnotic movements (via choreographer Marissa Herrera), and voices blending into thrilling choral crescendos that evoke the bustling vitality of the neighborhood itself. Once the show reaches its candlelit ballad "Alabanza," you can't help but surrender to the tear-inducing emotions that have built up throughout the show. It is precisely this communal spirit that gives IN THE HEIGHTS its beating heart—every character, no matter how small their moment, becomes an essential thread in the musical's emotional fabric.

Canonically, IN THE HEIGHTS holds a significant place in the evolution of contemporary musical theatre. Long before Miranda would revolutionize Broadway again with HAMILTON, this earlier promising work helped broaden the cultural vocabulary of the American musical, foregrounding Latinx voices and immigrant narratives that had rarely occupied center stage in mainstream Broadway storytelling. Its portrayal of everyday lives—dreamers, workers, parents, and young people standing at the crossroads of identity—resonates with authenticity and warmth, offering audiences not merely spectacle but genuine human connection. It doesn't hurt either that IN THE HEIGHTS is now considered a rarity on the Great White Way, in that the show isn't an adaptation of a previously-existing IP. It is wholly original and, wow, what a great thing that is!

Sticking with what works, MTW's production is, for all intents and purposes, a resounding success, as it captures the show's established vibrant brilliance without many missteps or alternative takes. And, yes, my only gripe is the uneven sound balance (there are times the cast is drowned by the volume of the band) which is easily remedied as the show progresses into repeat performances.

Much of this production's enjoyability, to be honest, is in its ensemble's charming, spitfire performances. Every single person is a proven talent, with vocal and acting abilities that fit their respective characters well. Carbajal was younger when I first witnessed him on stage and he seems to have settled nicely in Usnavi's newsboy cap—as if his Usnavi has seen some thangs over the years. Aceves-Lopez's and Lozada Ramos' ability to caress (and, yes, honey, belt) certain notes are just so, so enjoyable to watch (and, again, "Breathe" was just exquisite). Also worth noting is the towering presence of Berto Fernández as the Piragua Guy who provided some soaring notes with each appearance. And I've seen Rianny Vasquez in several SoCal productions in the past few years, and she seems to have an effortless comedic knack for scene-stealing. Needless to say, I'm a fan.

Overall, MTW's return to Washington Heights is a lovely return home. 

Ultimately, IN THE HEIGHTS endures because it captures something both specific and universal: the complicated push and pull between the place we come from and the future we dare to imagine. With its irresistible score, vibrant characters, and jubilant celebration of community, the musical continues to remind us that while individual dreams may evolve or even falter, the shared bonds of neighborhood, culture, and collective resilience (and, yes, patience) can illuminate the path forward—one beat, one dance step, and one hopeful voice at a time.

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Photos courtesy of Musical Theatre West.

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Performances of Musical Theatre West's production of IN THE HEIGHTS continue through Sunday, April 26, 2026. The Carpenter Performing Arts Center is located at 6200 E. Atherton Street in Long Beach, CA. For tickets or for more information, please call 562-856-1999 x4 or visit online at www.musical.org.