“In the Heights” is a contemporary musical with lyrics and music composed by Lin-Manuel Miranda. The playwright was Quiara Alegria Hudes. It is an adaptation of the stage musical of the same name, “In the Heights”. The original musical made its official Broadway debut on March 9, 2008, at the Richard Rodgers Theatre. The movie musical “In the Heights” was released on June 10, 2021. This musical was directed by Jon M. Chu and the music was composed by Lin-Manuel Miranda, Alex Lacamoire, Bill Sherman, and Ryan Shore. The amazing choreography was done by Christopher Scott, Ebony Williams, Emilio Dosal, and Dana Williams. Latin choreographer Eddie Torres Jr. The set decorator was Andrew Baseman, the production designer was Nelson Coates, and the …show more content…
Some other important characters are Abuela Claudia played by Olga Merediz, Kevin played by Jimmy Smits, and Sonny played by Gregory Diaz. The music and dance in this musical is a mix which reflects the diverse cultural influences of the characters. Dance includes Samba, Merengue, Salsa, hip-hop, contemporary, and some ballet. Music includes hip-hop, latin, Broadway show tunes, and even R&B. To reflect these various styles of music, the orchestra is filled with many instruments. We hear keyboards, percussion, bass, violins, trumpet, guitar, and more. In the exposition of “In the Heights” we are introduced to bodega owner, Usnavi, telling the story of their disappearing block in Washington Heights, New York. The city is experiencing a record-breaking heat wave. We learn about the struggles, hopes, and dreams of the various residents. Usnavi dreams of returning to the Dominican Republic and fixing his father’s bar. Nina dreamed of going far and thriving through her education. But after finally going to Stanford, she believes her dreams have changed. She struggled with prejudice, discrimination, loneliness, and her self
One of the most important themes throughout `Campos de Castilla' is the relationship between the poet and the external reality. In `La Tierra de Alvargonzález', this is also an important theme, yet this poem differs from the collection, not only in its length, but also its content. There are many different levels of interpretation of this poem: first of all as a simple murder story, secondly as historical degeneration - represented within a family by parricide, and lastly as Cainism. `La Tierra de Alvargonzález' existed in two forms: prose and verse. The prose form was the original form, but it is the verse form which is more well-known out of them. There are some fundamental differences between the two forms. Most notably is the absence of the second narrator - the peasant, in the verse form, which creates a multitude of effects upon the interpretation of the poem. As a result, the narrator of the poem is more involved in the action he is retelling, and there is a greater accumulation of tension, more ambiguity and supernatural aspects. Another difference between the prose and verse versions is the murder of Miguel, the youngest brother. In the prose version, he is also murdered, yet in the poem, Miguel survives which puts more emphasis upon the theme of guilt and retribution. The unseen forces of sin, guilt and retribution are conveyed with an ambiguity made effective through poetic rhythm and imagery which conveys that nature and human lives run parallel, which is emphsised by the landscape's role as a reminder of the brothers' guilt in the final stages of the poem.
Have you ever seen someone going from rich to poor? If not, then this might be new to you. I read about this girl named “Esperanza”, from the book Esperanza Rising by Pam Munoz Ryan, who has experienced this. She is a rich girl. She doesn't do anything by herself, her servants do everything for her. She only has her mom, dad, and her grandmother in her family. Her mom’s name is Ramona, Esperanza calls her dad “Papa”, and her grandmother’s name is Abuelita. She is living in Mexico. The change from innocence to experience can be painful.
It describes the immigrants point of view as they sacrifice their most beloved things. Bodega and Chino risked their love ones in order to help other people and the community. Relationships throughout the story elaborated the sacrifice that they went through to better the community. The relationship between the Chino and Blanca demonstrates that they sacrificed themselves for the better outcome of their upcoming baby. Sacrifice was also demonstrated through the business in the community being overpowered by Bodega to ensure that the white supremacy did not change the Puerto Rican community. Sacrifices that the characters made affected the development of the community of Spanish Harlem. El Barrio transformed its bad reputation to a well-know and conservative community. People give up their most precious loving memories to ensure their or someone else
The story begins in “Catfish Row” a small coastal town based on the real town of Cabbage Row in Charleston, South Carolina during the 1920’s. The main protagonist of the story and leading man is Porgy, a disabled beggar man who is known for riding his goat cart around Charleston. Bess is the leading lady of the opera and is in an unhealthy relationship with Crown, a powerful, violent, alcoholic, short-tempered stevedore (dockworker). Act I starts with a lullaby being sang to a small baby by a young mother named Clara, as she sings the men of Catfish Row prepare for a crap game, prior to the game, Crown purchases whisky and Cocaine from the Sportin’ Life, the local drug dealer of the town, during the crap game, Crown who is very drunk kills a local man named Robbins, Crown flees Catfish Row and leaves Bess to fend for herself. Sportin’ Life who is attracted to Bess, he gives her cocaine and asks her to join him in New York, Bess refuses and is now alone, she has no where to go, she is rejected by all of the Catfish Row resident, all except for Porgy who takes her in. A funeral takes place for Robbins, Serena, Robbins’ wife acts very coldly towards Bess when she offers her donation to help pay for Robbins’s funeral cost until Bess explains that she is no longer with Crown, and now lives with Porgy. Soon after, a detective enters and tells Serena that if...
The plot, Jackie navigates the life of a preteen in New York during the 1960s. This plot begins late in Jackie’s life since her story begins 12 years prior which is when she was born but begins at the most present moment in the play which is the now. Although all of the characters are being depicted through one phenomenal actress, the characters are limited to her parents, Perespone and her family, and the friends she makes along the way. As well as the scenes and locales are fairly limited all of the scenes take place on a geographic scale in New York, and on Erickson Street or Manhattan at her private school. This shown the privileges of a small set reaffirms the focus and tightness of the
The play consisted of five characters: Marty, James, Schultz, Theresa, and Lauren. Marty and James are a couple; they knew each other through a wedding, Theresa is a former actress who ran away from the competitive New York, Schultz is an awkward carpenter who just got divorced, and Lauren is a sixteen year old girl who dreamed of becoming an actress. Marty who is the teacher started the class, but the students participated in the class’s activities
What is the difference between a book and a Quinceañera? While the first thought might be “a lot,” in actuality, they are very similar. A book changes in appearance over time, but the message inside stays the same; likewise, just as a quinceañera may change physically over time, the meaning and purpose has stayed constant throughout the ages. Some might argue that quinceañeras are not different than other rites of passages; however, because quinceañeras embrace gender norms, encourage catholic religious practice, and establish cultural identity, they build self-identity the most.
In The House on Mango Street, Cisneroz agitates the theme of diversity through her use of characters and setting. Cisneroz paints a multitude of events that follow a young girl named Esperanza growing up in the diverse section of Chicago. She is dealing with searching for a release from the low expectations that the Latino communities often put women whether young or old are put against. Cisneroz often draws from her life growing up that she was able to base Esperanza's life experiences on and portray an accurate view on Latino societies today. Cisneroz used the chapter “Boys and Girls” and “Beautiful and cruel” to portray Esperanzas growth from a young curious girl to a wise woman. She came into her own personal awareness and her actions that she has to now be held accountable for.
All birthdays are special. Birthdays celebrate life and the passing of time. In a young Mexican girl life, there is no birthday more important then her quinceañera. The quinceañera is a celebration of a girl’s journey into womanhood. The story of my fifteenth birthday is contributed for a better understanding of how special it is to celebrate a girl’s transformation into a lady, and how it differs from any other birthday she celebrates.
It tells the story of a group of impoverished young artists and musicians struggling to survive and create in New York City's Lower East Side in the Bohemian Alphabet City, a time when HIV/AIDS ran rampant. The character of Joanne Jefferson breaks out of the typical gender and sexuality restrictions. Joanne is a successful, lesbian lawyer who comes from a wealthy family and constantly comes through for her friends and life-partner throughout the musical. She exhibits characteristics of the typical protagonist male character that would normally appear in a musical. Joanne is a strong woman because neither her sexuality nor gender define her. She does not allow traditional gender stereotypes to define her. She is not afraid to appear feminine because she does not perceive these aspects as
The play "The House Of Bernarda Alba" gives an interesting portrayal of a middle class home consisting entirely of women. The plot is set in a small town, middle class house in a society dominated by men. It is believed to be set somewhere in Spain in the 1930s. The play was written in a time when the suppression of woman was still strong. The mother, the head of the household, does everything she believes is necessary to keep her house within a good social standing in the town. The mother had become the master of the house after her husband died, which makes her work harder to keep a good reputation for her house of women. Looking deeper into the story one might find two sides to the dilemmas that cover the house. There are protagonists, principle characters in a story, and antagonists, characters that act adversaries or opponents to the principle characters. In this play one of the maids, Poncia, is forced to be in the middle of much of the drama consuming this house. She, Poncia, can be looked at as both a protagonist and antagonist. One might say that she fits into a back up role; helping support the main characters' roles, in the cast of characters.
Before Babi takes Laila to school and goes to work, Mammy fights with him “ferocious[ly as she is] . . . pacing and ranting, [whereas] Babi sit[s and] . . . nod[s] obediently” (108).
Both “The Legend of Qu’Appelle Valley” by E. Pauline Johnson and “Qu’Appelle” by David Bouchard retell the same First Nation’s legend but develop different voices throughout the use of stylized English, syntax and figurative language. The narratives follow similar timelines in which events occur, characters and theme of how the Qu'Appelle valley came to be. Writing in Shakespearean English rather than modern English is a stylized choice by Johnson which gives the overall story an academic voice and romanticizes the legend. For example, Johnson says, “I heard a voice speak tenderly my name… I answered; no reply” (Johnson, 5). In contrast, Bouchard employs an informal voice with the use of third and second person. This
Jackie, portrayed with raw emotion, grapples with his own demons while trying to salvage his relationship with Veronica, portrayed with fiery intensity. Their tumultuous dynamic serves as a microcosm of the larger themes at play, highlighting the cycle of addiction and the search for redemption. The director demonstrates a keen understanding of the material, allowing the performances to shine while maintaining a sense of urgency and tension. The staging is dynamic, utilizing the intimate space of the theater-in-the-round to create a sense of intimacy and immediacy. Design choices, from the gritty urban setting to the evocative lighting, enhance the overall atmosphere of the production, immersing the audience in the world of the play.
Jerome Robbins, who created the idea of the musical, worked both as the director and choreographer. As choreographer he received praise for the total integration of dance in a unique and dramatic way. The composer, Leonard Bernstein, created his best work with the complexity, passion, tuneful, shocking and rhythmic energy all incorporated throughout the production. Stephen Sondheim, the lyricist, made is debuted to Broadway alongside West Side Story showed his wit, intelligence and talent thus making him the pre-eminent songwriter of his generation. The librettist, Arthur Laurents, integrated language, music and dance into the production through the stage of contemporary Manhattan (Allen and Horowitz).