Projects by Miranda are inclined to pull a wee little focus.
In the annals of musical theatre, by character filled with Cinderella tales,"In the Heights" has an wonderful backstory. It started two years ago when a college student at Wesleyan had additional time on his hands his girlfriend had been studying overseas -- he began to compose a series. A series that melded what that he loved: hip-hop, Latin dancing and music, rap, and obviously musical theatre.
The child was Miranda, also"In the Heights" finally made it all the way into the Tony podium, winning best musical. Obviously, Miranda's own narrative was only starting.
Comparisons between the two are inevitable, but they are different animals. "From the Heights," led with unabashed exuberance from Jon M. Chu by a screenplay by Quiara Alegria Hudes, does not look to reframe American background; it utilizes Miranda's rapid-fire wordplay and hybrid of traditional and contemporary styles to tell the story of a single community -- just one intersection, even -- during international experiences, such as encroaching gentrification. This upgraded version also rolls on the Dreamers, and also a golfing reference Donald Trump was changed to Tiger Woods. But its primary thrust remains the bonds of neighborhood, home and family. (If you look carefully during one tune, you may even see Miranda's parents)
The launch was postponed annually; theatres are now open. "Lights up," starts the contagious opening amount , and these words are ideal: Lights up on Washington Heights, yes, but also on a reawakened New York, where lots are returning to pre-pandemic rhythms following a gloomy year, excited for shared expertise. "In the Heights" is a job that reads the space: a movie without a ounce of cynicism, that communicates its huge heart on its sleeve and dares you to not combine in. Two fans, abruptly dancing the side of an apartment building? A Busby Berkeley-style dance number at a town pool? Yup. And yup.