In the Heights: Miranda tells our stories on stage and screen
Finally going back to the movie theater after a long, surreal and strange existence. I was beyond excited to take my mom and daughter, Maya to the opening day of In the Heights. As a fan of the original Broadway musical, and looking forward to introducing Abuela Claudia to my Cuban mother, an Abuela herself. I was giddy on the drive to our first indoor outing together in over a year. The best musicals, movies, and shows are often the ones that resonate on a deeper level, the ones we see ourselves in. That was always very much the case for me with In the Heights. I remember feeling Lin-Manuel Miranda had captured so many of my memories and feelings and transcribed them on the page and then to the stage with this beautiful and fun story. Every single character, every struggle, the hardships, the pride, the celebrations, pressures, expectations, dreams, the music, the chisme, the spanglish, all of it felt like flipping through an old journal pulled from my dusty, old keepsake box. Just like a real familia with all it’s generations dealing with their own trials and tribulations, this story captures the pressures of a first generation children of immigrant parents, some who have all eyes on them watching for the big success, the ticket out of the barrio, a career using intelligence and hard earned degrees rather than calloused hands and sleep deprivation. Maybe the previous generation made it to a comfortable place in life with hard work and focus but the sacrifices made are now used as endless reminders and comparisons to the next in line. While well intended, often backfire resulting in rebellion or withdrawal. We also experience the longing to return to the homeland, or at least the romanticizing of what was left behind but the realization of what made us leave our beloved homes in the first place. In the end are we better off? If not us, our children? Our children’s children? The dichotomy is so beautifully portrayed in one of my most favorite Broadway show tunes ever, “Paciencia Y Fe”. Olga Merediz reprises her role as Abuela Claudia and she blows me away with her performance and the metaphor of “heart’s about to break” and “I’ve spent my life inheriting dreams from you”. As I sat in the movie theater I felt my heart beating so intensely and the biggest lump in my throat during this most gorgeous of scenes, it was so hard to keep the tears silent so as not to disturb the other movie goers. The last subway ride and its choreography, costumes, history, Abuela Claudia in a house dress just like my Abuela Dulce wore daily. How I wish I could sit for one more cafe con leche with my Abuela. Speaking of Abuela’s, the character reminded me of my other abuela as well, my Tita. Both my abuelas let people in when they needed shelter or a temporary stop to get back on their feet. My Tita especially seemed to run a home like a permanent hostel for those on their way to their American Dream. “96,000” reminds me of her husband and on again off again partner in the long novela of her life story, my Abuelo Conrado walked all the way to the 7-11 daily to play the lottery. This was quite a walk for a skinny old man. My parents had settled in the suburbs and everything was a far walk away. Life in the burbs was made for life with wheels. No more Chicago corner markets for my Abuelo. The set felt familiar with the Mid-century modern furniture, paired with home stitched textiles, music, dancing, delicious food, plenty to share with anyone who stops by. So special to have my Mami with me as we watched this and all the parallels. They say life imitates art but Miranda knows how to make works of art that truly imitate our shared life’s stories. Parents wanting more for their children but also recognizing sometimes the simple life was the best life. I remember when my husband and I were looking for a neighborhood to settle in and we fell in love with our town and my parents asked why we wanted to go backwards. Didn’t I remember how hard they worked to get out of urban neighborhoods and into the safe and quiet track house living? Didn’t I want to live somewhere with a two car garage and a walk-in closet? The answer was easy for me, it was a hard pass. I wanted to get back to more life and sounds and colors. What we’d lack in square footage we’d more than make up for in diversity, culture, and art. I reminded them what they had told me many years earlier, that the happiest times were when they couldn’t afford to go out and make big plans so we played the guitar and sang songs together or worked on outdoor garden projects as a family.Just as Broadway and Off Broadway show before it, In the Heights, the movie is perfectly cast, acted, choreographed and filmed. Washington Heights itself is a main character as is the Washington Bridge. Which leads us to one my favorite cameos in the show (of which there are many including Lin-Manuel Miranda’s parents, Doreen Montalvo, Marc Anthony and more), Christopher Jackson, Hamilton’s George Washington and In the Heights Broadway original Benny returns as Mr. Softee who also happens to be the nemesis of the Piragüero played by Miranda himself. I love the playful end credits with the two of them. I still remember the first time I heard Eliseo Roman sing this song and it brought me back to childhood memories of traveling in Mexico and hearing the singsong call for “paletas de coco, sandia” etc and struggling to decide which one to enjoy in the hot sun before it melts down my arm. Or when visiting my father’s hometown of Tegucigalpa and hearing the not as appetizing call to come out and buy “huevos de tortuga”, turtle eggs. This was basically an alarm clock during our time in Honduras and a lovely memory brought back by “Piragua” and of course I couldn’t help comparing it to our “Queen of Salsa”, Celia Cruz and her song “Caramelos”. Another song with flavor choices like coco, piña, limón y miel de abejas. Coconut, pineapple, lime, and honey. I have so many memories that resonate in this story and it feels so good to have this gem of a Latine representation but Miranda has brought us a story everyone can relate to as every culture and generation has their version of struggling street vendors trying to just get ahead or even just enough to survive. The Irish have “Molly Malone” selling “cockles and mussels, alive, alive, oh!” And so on. Choreography is once again on point with “The Club”, “Carnaval Del Barrio”, “96,000” and slower but so impactful, “Paciencia Y Fe”. Originally done by Andy Blankenbuehler and more recently in this new film version by Christopher Scott, either one a success in the dance department. I love a big dance floor number reminiscent of West Side Story, or Grease. Scott, together with director Jon M. Chu and of course Miranda have captured the original beauty and essence of a Broadway favorite. Dazzling and exciting, touching and beautiful, the challenge to update without losing its original magic has been completed. I missed a few things for sure mainly Camila Rosario and her “No-no-no-no-no, No-no-no-no-no, No you don’t” in “Enough” but any omissions or changes were quickly forgiven. Even more so once the welcome additions of increased focus on social justice topics make their way on the screen. Sonny’s hurdle grows as DACA status intensifies in country making the story more current and poignant. This story of chasing the American Promise is woven through every character. Rare is the occasion that I truly celebrate all parts of a remake after watching, especially for the first time but this time is one of those occasions. I am in love with this film.
