Hoof ‘n’ Horn’s 'In the Heights': A night of earnest heart

For two weeks, von der Heyden Studio Theater became the bustling community of Washington Heights as part of Hoof ‘n’ Horn’s recent production of “In the Heights.”

The musical, written by Quiara Alegría Hudes, with music by Lin-Manuel Miranda, takes place in this largely hispanic New York City community. Bodega-owner Usnavi (played by Pratt sophomore Michael Albert) is both the narrator and a central character, who spends the story contemplating a return to the Dominican Republic. His story is interwoven into those of his friends and family—struggling college student Nina (Trinity senior Kaitlyn Maher), neighborhood matriarch Abeula Claudia (Trinity junior Sophie Yost), his best friend Benny (Trinity senior Bri’Yon Watts) and Vanessa (Trinity first-year Isabella Murray) — to create a challenging, energetic piece that captures the community’s strength.

Hoof ‘n’ Horn, Duke’s oldest musical theater group, tackled this challenging piece with enthusiasm. While some scenes and moments felt a little disjointed, the show was strong overall, with incredible energy from the actors and great production quality. While some numbers like Yost’s show-stopper “Paciencia y Fe” began with little buildup, the energy of the belty performances and fluid choreography created moments of surprising excitement. This was especially true in the show’s second act, where the cast seemed electrified as their stories culminated.

According to Clara McMillian, scenic designer and sound board operator and a masters student at Duke, Hoof ‘n’ Horn wanted to capture a sense of “multiculturalism” as they explored the show, seeking to emphasize connection throughout both the company and the show itself.

The show mostly succeeded in this act. The choreography, developed by Trinity senior Alexandria Edwards and Pratt graduate student Micca Lejwa, is exceptionally energetic. As the ensemble glided through the tiny theater, the audience felt connected to and swept up in this energy. The rhythm of the movement seemed to take over the intimate space of the von der Heyden Theater, driving a sense of joyful connection that permeated throughout the crowd.

As actors grew closer and closer to the audience during massive numbers like “96,000” and “Carnaval del Barrio,” the entire room was filled with the energy of the performers. It was during these largest scenes that the audience seemed most invested in the story, whooping and hollering in response to the excitement surrounding them.

This energy could also be found in many individual performances. Trinity first-year Robert Capetillo nailed his performance of Usnavi’s cousin Sonny, embodying a comedic youthfulness with an undercurrent of passion that conveyed a resonant, realistic desire for change. Pratt sophomore Isabella Peralta, who also served as Assistant Set Designer, was laugh-out-loud funny in her portrayal of the naive Carla; her line delivery was so earnest and convincing.

The show also did well when it lingered on moments of genuine connection and reflection. The chemistry between Watts’ Benny and Maher’s Nina was particularly moving, and they were believably committed to a growing relationship. Watching them struggle against the guiding, grounding forces of Pratt junior Diego Zalles’ Kevin Rosario and Trinity senior Isabel Oliver’s Camila Rosario provided a clear insight into personal struggles between familial approval and disappointment. As Benny and Nina fought, reconciled and tried to define their relationship, the audience gasped and hoped for their success.

These moments of humor and heart were tied together by the lovely, connective design of the overall production.

Trinity junior Ally Doss’ lighting design emphasized the wonderful musical stings of Miranda’s score, creating an inventive and energetic effect while maintaining a sense of space and reality. This combined with the excellent scenic design of McMillan and Peralta to build a world that felt bigger and more encompassing than it was. Even with only four truly distinct locations in the set, the production built a sense of far reaching, moving space by spinning and bringing forward buildings and occasionally conveying setting through more abstract lighting.

To further emphasize the connection between place and cast, McMillan gave cast members a “decent amount of control over their own spaces.” Cast members painted graffiti and rearranged the areas their characters lived in, mixing in their own personalities and preferences. The effect is a world that, while refined and fluid, feels lived in and connected. This design let the performers shine, bringing forth the ideas of vibrant multicultural connection that run throughout the show.

Hoof ‘n’ Horn’s “In the Heights” shines with energy and the connections between performers and audience. Ultimately, the performance overcame any issues with sheer earnestness, joy and personal connections that shone throughout the entire performance.