Street Dance

Taken from Lin-Manuel Miranda’s Broadway smash musical, IN THE HEIGHTS was designed as a riotous celebration of Latin culture. Now, post-pandemic, it’s become a vital look at our need for community. Total Film visits the set of the year’s most vibrant movie.

- JAMES MOTTRAM

Do it again – more attitude!” Jon M. Chu’s voice echoes across the cavernous Brooklyn warehouse, part of which has been converted into a busy hair salon. Sporting a blue baseball cap, the director moderates his instructions: “More subtle.” His cast nod and everyone readies for another take of ‘No Me Diga’. It’s one of the key songs from In The Heights, Chu’s big-screen adaptation of the most joyous New York musical since the kids from Fame caused a serious traffic jam on 46th Street.

The scene ramps up again, as Nina – played by Leslie Grace – explains that she’s dropped out of Stanford University. “Well, that’s a shitty piece of news,” remarks salon owner Daniela (Broadway star Daphne Rubin-Vega) before another rendition of the song – Spanish for “You don’t say!” – fills the air. Extras twirl their hair and puppeteered mannequin heads start bopping in time to the music. “It’s one of the harder numbers because it’s comedic,” remarks choreographer Christopher Scott, delighted by what he’s watching.

As it concludes amid high-fives and laughter, emotions are running high. “There’s always at least one set cry every day,” says Grace, the Bronx-born singer making her screen debut as Nina, one of the central figures in this tale of everyday folk from Manhattan borough Washington Heights. It’s no surprise there are tears. Written by Lin-Manuel Miranda and Quiara Alegría Hudes, In The Heights has been mooted for an adaptation for years, ever since it first bowed on Broadway in 2008.