Best bit: The Nightclub scene. The lights go out but the mobile phones come out!

Any boring bits? Perhaps one of the slower paced ballads...

Who would like it? Those who can't resist a samba, salsa or rumba!

Who wouldn't like it? Those looking for intellectually hard hitting drama - this is musical theatre after all.

Morning after effect: Listening to Lin Manuel Miranda's soundtracks on Spotify.

Verdict: 4 out of 5 stars

With the last echoes of Summer fading into the sunset of a crisp early Autumn evening, I made my way to the King's Cross Theatre with my hands firmly in my pockets, wishing I'd taken that extra jumper along after all... However, all notions of the forthcoming winter were banished by the exuberance of Lin Manuel Miranda's In the Heights. Immediately transported to a subtropical New York barrio (Latin-American neighbourhood) in the height of summer, I revelled in the sights and sounds of this effervescent tribute to Miranda's own heritage and upbringing.

Although best known for his Broadway blockbuster Hamilton, Miranda's In The Heights marked his very first foray into the territory of the Great White Way. Bearing the hallmarks of his distinct style, it successfully merges the lyricism of musical theatre with the syncopation and street edge of hip hop and rap. This extraordinary genre bending garnered the show four Tonys and a Grammy during the 2009 awards season and after experiencing the music for myself, it's easy to see why.

The story centers on the colorful inhabitants of Washington Heights and their interweaving lives. There's Usnavi, leading man and proprietor of the local bodega, his Cuban-born grandmother Abuela Claudia (a matriarchal figure in the locality), the feisty Vanessa (who dreams of a life beyond the barrio) and a host of integral characters, all threads in a vibrant community tapestry that's not without its share of struggle and strife. Amidst a budding romance between Vanessa and Usnavi, stifling heat, rolling blackouts, looting and rising rents intensify a growing sense of despondency. Yet in true musical theatre style, a ray of hope lies just around the corner, almost within reach...

When the show's high octane choreography and its cast's vocal prowess combine with the Latin-American-Hip-Hop-hybrid score, pure musical theatre magic happens. The King's Cross Theatre's traverse stage means dance numbers are fluid, 360 spectacles of mesmerising street dance; there's so much kinetic energy generated on stage that I'm surprised none of the performers spontaneously combust. Herein lies the production's brilliance. While it succumbs to the common pitfalls of a paint-by-numbers and sometimes shallow story, it lights up the night with its boundless electric passion. I heartily recommend this show to anyone looking to escape London's grey drizzle, if only for an evening.

With Hamilton set to arrive at the West End's Victoria Palace theatre in the near future, In The Heights is a fantastic introduction to Miranda's work. It's not easy to keep the two productions separate (I've been listening to the Hamilton soundtrack on repeat ever since its release) and while Hamilton pips it at the post as Miranda's masterwork, In The Heights stands and salsas on its own two feet! It's a diverting and enjoyable evening, as well as a taste of what's to come from the incredibly talented artistic force that is Lin Manuel Miranda.

REVIEWED BY TEIA FREGONA

Friday 16th September 2016
King's Cross Theatre, London

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