Review: IN THE HEIGHTS from Malama Arts at Hilo Palace Theater.

Mālama Arts’ production of In the Heights at the Palace Theater is an ambitious and often vibrant show that showcases the dedication of Hilo’s young performers and creative team, even if it does not land perfectly in every respect.

On the night I attended, technical issues were difficult to ignore. Several microphones were either not on or inconsistent, and frequent feedback interrupted the flow of the performance. This was especially noticeable during the rap-heavy numbers, where clarity is already a challenge. The speed and density of the lyrics require strong sound support, and without it, some of the storytelling was harder to follow.

Even so, the production found its stride whenever movement took center stage. The choreography by Mana Hoʻopai was a major highlight, full of energy and precision, and it was in these moments that the show truly came to life. Kassidy Wilson’s dancing in particular stood out as a highlight of the evening, bringing confidence and dynamic presence to every number she was part of. The ensemble, including the keiki performers, was used thoughtfully and added a strong sense of community that fits the heart of the show. Music director Rachel Edwards guided the score with care, helping shape the musical backbone of the production despite the technical hurdles. Director Jennie Kaneshiro’s vision comes through clearly in the show’s emphasis on relationships, culture, and connection.

Visually, the production impressed. The two-level set is one of the most effective seen on a Hilo stage in recent memory, creating dynamic staging opportunities and a vivid sense of place. The lighting design stood out as well, particularly during the fireworks sequence, which was handled with creativity and impact.

The cast brought commitment and personality to their roles. Nick Mendoza led the show as Usnavi with warmth and presence, and his rapping was especially strong, delivering clarity and rhythm even when the sound design worked against him. Jessica Smith’s Nina carried emotional sincerity, while Kassidy Wilson’s Vanessa paired her standout dancing with a confident stage presence. Charles Haines gave Benny an easy charm, and Sonni Shine’s Abuela Claudia added heart and tenderness. Kamaka Kalaola-Bowman brought lively energy to Sonny. Pomai Conant-Longakit and Tiari Faʻagata nearly stole the show as Daniela and Carla, bringing humor, charisma, and excellent chemistry that energized every scene they were in. Vincent Zamora’s Kevin conveyed intensity and depth, while Jackie Gomes as Camila offered a grounded and supportive presence. Ricky Alvarez’s Piragua Guy brought a fun, memorable touch, and Zoe Kaneshiro’s Graffiti Pete added style and movement that enhanced the visual storytelling.

Vocally, the performances were somewhat uneven, with some voices standing out more strongly than others, though all showed clear effort and dedication. The dialogue-heavy scenes between songs tended to slow the pacing, which may reflect broader challenges in the script itself rather than this particular production.

Despite its imperfections, this production is full of heart and ambition. It is unfortunate the show only ran for two weekends, as additional time might have allowed the cast and crew to further refine both technical and performance elements.

Overall, it is a spirited and visually engaging In the Heights with standout choreography, memorable performances, and a dedicated team that brings the community of Washington Heights to life on the Hilo stage.

In addition, Mālama Arts also has a reading series which has either presented or will present such shows as: The Sisters Matsumoto, Uncle's Regularly Scheduled Garage Party is Cancelled Tonight, Cat On A Hot Tin Roof, The Crucible, Stop Kiss and John Proctor Is The Villain. You can find details about their montly series on their website.