Abstract
This article focuses on questions of race, power and representation in regional productions of Lin-Manuel Miranda and Quiara Alegría Hudes’ 2008 Tony Award-winning musical In the Heights. While issues of representation in In the Heights did not begin in 2016, this article uses the Porchlight Music Theatre production as a point of departure to analyse how the musical became a contentious performance text in the post-Hamilton era. This study focuses on how theatre companies that have not traditionally produced Latinx stories have used In the Heights as an entry-point into the Latinx community and as a way to capitalize from the unprecedented success of Miranda’s Hamilton.
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