IN THE HEIGHTS
- writeonarts
- Aug 14
- 3 min read
Music & Lyrics: Lin-Manuel Miranda
Director: Mel Martin-Booker
Vocal Director: Dan Ieremia
Choreographer: Shanelle Borlase
Producer: Hamilton Musical Theatre
Riverlea Theatre, 9-23 August 2025
Before he created the musical Hamilton, Lin-Manuel Miranda drafted In the Heights at the age of 19. Smaller productions followed in Connecticut and off-Broadway. After further development, the Broadway show opened in 2008 going on to win Tony Awards for Best Musical and Best Original Score. The hip-hop, rap, and R&B is reminiscent of Miranda’s Hamilton, but the infusion of Latin beats solidifies its uniqueness. Set over three days during summer in a predominantly Dominican American New York neighbourhood called Washington Heights, the Latino community seeks to overcome a myriad of financial, emotional and cultural challenges.
In the Heights was invigorated by the inclusion of graduates and current students of Wintec’s Te Kawau Toi programme. Sekonaia Faletau (Usnavi), Marangai Wainohu-Savage (Benny), Jessica Ruck-Nu’u (Vanessa), Iosia Tofilau (Graffiti Pete), Michael Kerei (Piraguero), and Kimiora Wickliffe (Ensemble) knew how to command the stage. These polished performers understood the nuances of the venue, where to look, what to do with their hands, and how to engage the audience. Each of their characters were well-developed, believable and maintained a strong narrative presence.
As Usnavi, Faletau was an excellent choice. The all-singing, all-rapping, all-dancing, all-acting performer drove the story forward in a heartfelt way. His effortless delivery of the demanding rap was controlled and charismatic, and he grounded the show as narrator and leading man.
Savage was charming and had the moves, and ever-reliable Ruck-Nu’u was utterly compelling as the beautiful love interest. Tofilau brought the laughs, Kerei showcased his powerful belt, and Wickliffe worked hard in the ensemble.
Brooklyn Lee (Sonny) and Henare Creed (Ensemble) showed great promise with their likeable portrayals. “No Me Diga” performed by Ruck-Nu’u, Kyla Greening, Kyra-Mae Wilson and Kalesita Latu was a highlight with humour and faultless harmonies. Dan Ieremia’s vocal direction was supported by a vocally strong cast. Phrasing and diction was sharp. In places, the backing tracks overpowered the vocals, and the mix appeared to be pushed beyond the sound system’s optimal range with vocal distortion in higher registers distracting from the overall impact and performance.
The static outdoor set took up the full width of the stage with seven entry points, stairs, and two hidden ladders giving the cast the ability to play at different levels. Hamilton Musical Theatre continues to create visually interesting sets that seem to expand beyond the confines of the venue. The savvy lighting design leant into the sweltering summer heat, and the cast occasionally supplemented the illumination with handheld devices.
Shanelle Borlase alongside dance captains Latu and Tofilau had created an energetic fusion of street, contemporary and Latin dance. The high energy ensemble numbers were dynamic, and the entire cast looked as though they were genuinely enjoying the choreography.
Director Mel Martin-Booker included her pitch to Australasian licencing agent Origin Theatrical in the souvenir programme. Martin-Booker detailed her desire to stage In the Heights with a diverse cast. She also listed the communities that she reached out to in order to achieve this. Amongst the cast were some making their theatrical debuts, and this contemporary work was an ideal choice to capture the attention of younger performers.
In the Heights offered an engaging glimpse into Latin American life through a passionate cast hailing from Aotearoa, the Pacific Islands, Asia and South America.
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