The Cast Photo by Dan Norman

Artistry has mounted In the Heights on its Schneider Theater stage, bringing added heat to this summer theatre season with a production that is wholly faithful to the spirit of the original, fueled by fabulous performances, strong direction by Maija García, and spirited choreography by Abby Magalee that uses dance to portray and celebrate the Washington Heights neighborhood that is heart of the show. It is a complete win.

Washington Heights is on the north end of Manhattan, sitting just above Harlem. Through the twentieth century, cycles of different immigrant groups have made their homes there, but since the 1980s it has been dominated by Dominicans, the largest such community in the United States. In that setting, a simple but incisive story is spun.

The central character, Usnavi, runs a bodega, with help from his younger cousin Sonny. Since being orphaned at a young age, Usnavi was raised by Abuela Claudia. "Abuela" is Spanish for grandmother, but Claudia is not a blood relation of Usnavi's, though she is the honorary grandmother of everyone on the block. Over the course of a day, just about everyone passes through Usnavi's store, serving as a neighborhood crossroads, though Usnavi dreams of leaving it behind and moving to the Dominican Republic, the homeland he has never seen.

His block includes the Rosario Taxi company, run by Kevin and Camila Rosario. Their daughter, Nina, has just returned after her first year at Stanford. Nina's scholarship to the prestigious college represents high hopes of advancement for the entire neighborhood. Also harboring high hopes for Nina is Benny, who works for the Rosarios and has a deep crush on her. Across the street is a beauty salon run by sassy but big-hearted Daniela, along with stylists Carla and Vanessa. Usnavi has had a long-time crush on Vanessa, but he had better act fast–she plans to move out of the Heights, down to the West Village. Just as well, since Daniela is moving her salon to the Bronx, where rents are cheaper.

In the Heights begins on July 3, with the temperature sizzling, while everyone looks forward to Fourth of July celebrations starting that evening. The characters' relations to one another and their private dreams and worries, wins, and losses are well conveyed by Hudes' book and Miranda's natural-sounding lyrics. Amidst this vibrant community web, a lottery ticket becomes the catalyst for change.

Miranda's score draws on sounds that you'd be likely to hear walking on the street in Washington Heights: rap and various Latin rhythms, distinctive to the various islands and nations that are home to its residents. In the Heights may be the first musical to so authentically reflect an immigrant community and achieve mainstream Broadway success.

Having seen the show a couple of times in much larger venues, I took my seat wondering how the broad sweep of life in this barrio could be depicted on the smaller-scale stage at the Schneider Theater. I needn't have worried. Scenic designer Eli Sherlock has created a unitary set with pop-out elements for the three major interior spaces–the bodega, the salon, and the taxi office–and also makes use of fire escape and rooftop spaces, leaving plenty of room to depict the robust street life and the dancing that ensues. García's direction ensures that the transitions among these spaces and scenes blend smoothly and that the street is always alive with the warmth and flow of humanity, giving the production a sense of authenticity.

The cast are terrific up and down the line in what is truly an ensemble piece, even though there are some distinct, well-defined characters. As evidence, the cast listing in the program indicates that every actor, even Andrés-Román Wood in the central role of Usnavi, is also part of the ensemble. Wood, though, does stand out as a singer and actor, and holds his own as a dancer. Moreover, he emits a shy charisma as one would expect of a real-life Usnavi. Wood is young, with a year to go to complete a BFA in Acting, and I thought, at first glance, that he looked too young to play Usnavi. Then he kicks off the show with the rap that becomes the title song, singing, speaking, moving–and I was sold. The guy looks to have a great future.

Raquel Ponce brings a wonderfully full voice and acts with conviction as Nina, beautifully delivering the heartfelt songs "Breathe" and "Everything I Know," and persuasively pairing with Chris Owusu, as Benny, in the duets "When You're Home," "Sunrise," and "When the Sun Goes Down," the three aptly marking the progress of their relationship. Owusu is also an excellent singer, actor, and dancer, putting in some great moves. Janely Rodriguez, a busy actor who seems to blossom more brightly with every appearance, is utterly terrific as Vanessa. She makes a clear case for what she's seeking in life with "It Won't Be Long Now," and dances up a storm in "The Club." She and Wood ignite sparks of romantic electricity in "Champagne."

The three older adults in the show each have a powerful time in the spotlight, and all three earn robust applause for their efforts. As Abuela Claudia, Jen Santoro Rotty passionately relays the backstory of her life in Cuba in "Paciencia y Fe (Patience and Faith)." Pedro R. Bayón, as Kevin Rosario, expresses the frustration of a husband and father unable to surpass his own father's ability to support his family's dreams in "Inútil (Useless)," and tenderly expresses a community's shared loss in "Atención/Alabanza." Lisa Vogel, as Camila Rosario, assertively calls her husband and daughter to task for not dealing openly with trust as a family in "Enough."

Pierce Brown is adorably cute as Sonny, Isa Condo-Olvera is swell as the ditzy hairdresser Carla, and Julia Diaz as free-speaking Daniela is hilarious and a clarion singer. She would stop the show every time she speaks or sings were the rest of the cast not so strong. Diaz, Condo-Olvera, Ponce, and Rodriguez have great fun gossiping in "No Me Diga (You Don't Say!)." Justin Cervantes makes the most of his small role as a street vendor. The big ensemble numbers–the opening title song, "96,000," "The Club," and "Carnival"–are marvelously staged, Magalee's choreography allaying any doubts I had about what can be achieved on the Schneider's stage.

Music director Kate Mariana Brown conducts the eight-member band, bringing Miranda's score fully to life. Zamora Simmons Stiles' costume designs and Jamakah Webb's hair and makeup designs transform every cast member into a member of the Washington Heights community in the early 2000s. Karin Olson's lighting design and Paul Estby's sound design add to the dynamism of the production and come together to create the requisite 4th of July fireworks.

The close-knit community created by Lin-Manuel Miranda and Quiara Alegría Hudes' In the Heights brings to mind the unity that communities throughout Minnesota experienced in response to the surge of immigrant round-ups earlier this year. It is doubtful that the writers had such a situation in mind when they developed their show. Usnavi's community is not brought together by policy decisions endangering their neighbors, but by a simple regard for the humanity of each person as they face personal trials and triumphs. Perhaps, though, that is the bedrock on which the response to civic emergencies is built.

Artistry's In the Heights offers top-of-the-scale entertainment value, which is reason enough to see it. But it is also gratifying to see, within that Washington Heights block, the roots of community that can bring people together, arm in arm, anywhere, from upper Manhattan to south Minneapolis.

In the Heights has been extended through August 30, 2026, at Artistry, Bloomington Center for the Arts, 1800 West Old Shakopee Road, Bloomington MN. For tickets and information, please call 952-563-8375 or visit artistrymn.org.

Music and Lyrics: Lin-Manuel Miranda; Book: Quiara Alegría; Conceived by: Lin-Manuel Miranda[ Director: Maija García; Choreography: Abby Magalee; Music Director and Conductor: Kate Mariana Brown; Scenic Design: Eli Sherlock; Costume Design: Zamora Simmons Stiles; Lighting Design: Karin Olson; Sound Design: Paul Estby; Hair & Makeup Design: Jamakah Webb; Intimacy/Fight Choreographer: Annie Enneking; Dialect Coach: isa Condo-Olvera; Associate Director: Nora Montañez Patterson; Stage Manager: Constance Brevell; Assistant Stage Manager: Samantha Smith.

Cast: Gabi Acostacano (ensemble), Pedro R. Bayón (Kevin Rosario/ensemble), Pierce Brown (Sonny/ensemble), Justin Cervantes (Piragua Guy/ensemble), Isa Condo-Olvera (Carla/ensemble), Julia Diaz (Daniela/ensemble), Miracle (Graffiti Pete/ensemble), Chris Owusu (Benny/ensemble), Raquel Ponce (Nina/ensemble), Jordan Rivera (ensemble), Janely Rodriguez (Vanessa/ensemble), Jeremiah Russell (ensemble), Chris Sanchez (ensemble), Jen Santoro Rotty (Abuela Claudia/ensemble), Maureen Sherman-Mendez (ensemble), Lisa Vogel (Camila/ensemble), Andrés-Román Wood (Usnavi/ensemble).