Alexander Reyes and Cast Photo by Dave Lepori

Lin-Manuel Miranda (music and lyrics) and Quiara Alegría Hudes' (book) In the Heights quickly established itself as one that would influence a new generation of stage musicals. Like the original, South Bay's large cast is all but one member of Hispanic/Latino backgrounds who speak much Spanish throughout, who freely and frequently rap with abound, and who proudly and gloriously sing in Miranda's blends of hip-hop, salsa, merengue, and soul.

In the Heights takes place in a largely Hispanic and Latino neighborhood of Washington Heights, New York City, with Kalyn McKenzie's inviting and impressive set design featuring a barrio of family owned businesses, the metal fire-escape platforms above them, and the nearby George Washington Bridge looming in the background. Immediately in the opening number–appropriately titled "In the Heights"–we meet the eclectic members of the community whose mother countries include Dominican Republic, Cuba, Puerto Rico, Guatemala, Mexico, and more, and we get our first introduction to the big-sounding blends of their voices sending our own hearts pounding, heads bobbing, and feet tapping. What is to follow is a story of a neighborhood in transition–one told with humor, heart, and heartache and one where love is the connecting thread throughout.

Usnavi de la Vega is a first-generation American and owner of a small, neighborhood mercado (food and drink market) whose Dominican father gave his newborn a name he had seen on a on a passing ship (U.S. Navy) as his family arrived in this country. His store is where neighbors tend to stop by each day for coffee, a bite, and the latest barrio news. Alexander Reyes commands the role of Usnavi with a personality magnetic and just enough blushing shyness (especially in regard to the girl he likes, Vanessa) to make him especially likeable. He is our ongoing narrator as well as key character in the storyline, using expressive hands, a dynamic spirit, and short-step, hip movements as he often communicates to us through the quick clipping of words in a rap mode that is overall easy to understand and full of emotional fervor.

Vanessa works at a local hair salon and has ideas beyond just remaining in the Heights and marrying a local boy. As Vanessa, Allison Taylor intensely stares into a future when "one day, I'm hopping that elevated train [that drives everyone insane] and I'm riding away." As she wards off machismo boys hoping to attract her attention, Vanessa sings "It Won't Be Long Now," her voice grabbing our own hearts with notes full of her pent-up emotions and hopes for a new life, intoning, "I'm gonna fly, it won't be long now, any day"–with the word "fly" soaring in a sustained, sung flight to the heavens.

Nina Rosario has already flown from the neighborhood as the first from her collection of friends and family to go to college–something that leads all in the barrio now to burst in pride. But financial pressures at Stanford have led her to drop out after less than a year, and her return (and going four months without telling anyone she had already left the school) causes a major blow-up with her parents, Kevin and Camila. Nina is beautifully voiced by Corinna Ruiz Laskin, rendering memorable and intense musical moments as the story proceeds.

When her father, Kevin, decides to sell his limousine company, one that he grew from nothing, and do so at a rock-bottom price to enable Nina to go back to school, more eruptions occur between him, his wife Camila, and Nina. That decision is only made by Kevin after John Ramirez, Kevin, has near brought tears to all eyes–as well as his own–with heart-touching resonance in "Inútil," recounting how he does not want to repeat the devastating experience his own tenant farmer father had in not being able to provide adequately for his family.

But his announcement of selling is only a precursor to a bigger family inferno when her parents discover that Nina and their long-time, trusted employee, Benny–a non-Spanish-speaking African American who has been heretofore treated largely like family–are romantically involved. As mother and wife Camilla, Evalina Maas-Espinoza delivers one of the evening's most powerful moments when she repeated sings "no" to all the scream-packed, in-fighting of her family, singing a strong-willed, not-going-to-take-this-anymore "Enough."

For his part, Wesley Barker is an exuberant, full-of-life, and determined-to-succeed Benny who brings big lungs and full voice to his songs and raps. Benny is passionate in both his love for Nina and in his anger when rejected as not good enough (and the wrong race) for her family.

The families in this Heights neighborhood include the hair salon's gossipy owner, Daniela (Liliana Cristina Marcoida), who leans toward being overly dramatic with snap and style and a piercing voice that zings. Her employee, Carla, an easily lovable Sierra Rose Albright, and Nina join Daniela in one of the evening's highlights of close, chatty harmonies full of barrio secrets just waiting to be shared, "No Me Diga."

Graffiti Pete (Osvaldo Mora) is a street artist who upsets Usnavi with the latest creation Pete leaves on his store's wall. His pal and the cousin of Usnavi who helps out at the store (doing as little as he possibly can) is Sonny, a joking, street-savvy kid with a keen eye for fairness and justice. As played with smooth-moving cool and a big smile for all, Mateo Alejandro Lovato's Sonny is the young relative/pal that anyone would be lucky to have.

Weaving his way in and out of the barrio's street scenes is Piragüero (a delightful Juan Moyoli) who sells his Piragau (fruited shaved ices) while singing and moving to a snappy salsa beat. His every brief appearance becomes an audience favorite.

The heartbeat of the barrio is a gray-haired, slow-moving but always smiling woman who is everyone's grandmother, Abuela Claudia. Angie Alvarez is the Abuela we all want as the old-in-age, young-in-spirit, and wise-in-all-respects woman who raised Usnavi when his parents died soon after he was born in the U.S. The stories she relates of the struggles and sacrifices of her life where prejudice by the majority was a frequent visitor is perhaps the most touching, most impactful sequence of the evening, with Angie Alvarez's vocals taking on operatic proportions without ever overwhelming the message.

All of these people's lives intertwine during three sultry days and sticky nights in July when a sudden blackout throws their world into discomfort and unease in one of many fabulously conceived and executed scenes by director Dave Leon–an entire barrio lost and looking with desperation for others with small flashlights amidst the threatening shadows designed as part of an overall monumental lighting design by Ed Hunter.

The issues of love and family as well as difficult decisions being made by several local businesses for personal or financial reasons occur as the world around them is on darkened edge–even as the fireworks of July 4 light the sky in attempts of celebration. Tensions rise in all directions until Abuela Claudia reminds them all in one unexpected minute what life and family is really all about. Their somberly sung with soft and intertwining harmonies "Alabanza" is an emotion-packed tribute both to what she and what all of them mean to the barrio.

But perhaps my personal memory that will last the longest of SBMT's altogether winning production of In the Heights is knock-out number after number when Michael Saenz fills the stage with incredibly coordinated choreography whose Latinx inspirations are full of syncopated, rhythmic, and fluid moves. Bodies sway with low gravity, hips swirl sensually, arms and heads snap, and lines/circles form and disappear in patterns galore. The energy in numbers like "96,000," "The Club," and "Carnaval del Barrio" are vibrant, hypnotic, fiery, frenzied, and mesmerizing at one point or another and sometimes, all in just a matter of seconds. And as they dance and move, voices rise in styles, tones, and harmonies that are stirring and exhilarating. These scenes become all the more enticing and exciting as well as full of every color in the rainbow through the eye-popping (and sometimes material-skimping) costumes designed by Barbara Griswold and through the you-ain't-going-to-believe hair and makeup designs of Aishy Panwar.

Accompanying these and all scenes and singers is a remotely located band of ten under the direction of Tony Gaitan that fills the theater with infectious energy as Miranda's score comes compellingly alive. The balance between band and singers is never an issue and even most of the rapid-fire words of the many rendered raps are clearly understood, just part of the masterful sound design by Jonah Phan.

With only nine more performance over the next three weekends, my plea is get to South Bay Musical Theatre to catch this must-see celebration of song, dance, and heart-filled messages of what it truly means to be an American in this 250th year of a country where all of us–save those truly Native–were once immigrants like the ones In the Heights.

South Bay Musical Theatre's In the Heights runs through June 6, 2026, at Saratoga Civic Theatre, 13777 Fruitvale Avenue, Saratoga CA. For tickets and information, please visit https://southbaymt.com or the the box office Monday – Sunday, 10 a.m. – 7 p.m. or call 408-266-4734.