Reggaeton on Broadway: No pare, sigue, sigue!
*This article originally appeared on behalf of Hispanic Link.
The theater is dark, and the only sound to be heard throughout the Richard Rogers Theatre on 46th St. is the lush, languorous skip of a traditional Caribbean bolero. The audience is transported back in time, but not for long –the record soon begins to skip and repetitiously trip over itself until the song’s choppy new rhythm turns into hip-hop. Para siempre, para siempre, para siempre,
we hear – forever, and ever, and ever.
The Tony Award-winning musical In the Heights about the Dominican neighborhood of Washington Heights in upper New York City is a musical about making home. It is about permanence, and about meaning. In the Heights is about sticking around, and in the process, finding oneself. And while it has received critical praise for its original scoring, sharp acting, and expert storytelling techniques, it mainly deserves praise for marking a new phase in American musical theater by portraying – and celebrating – the modern Latino community as it is, on stage and in triple-time.
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