Editor’s Note: An unedited first draft of Martin Brady’s Critics’ Pick of In the Heights ran by accident in the online edition of the Nashville Scene. As is the case here, first drafts are places for writers to work out ideas that should often be discarded before they ever see the light of day. Instead, the uncorrected piece was published online, and many commenters were offended by the descriptive language in the piece — concerns that were raised with the author during the editing process, and which, to his credit, he apologized for and agreed to change. The Scene apologizes to all readers offended by the piece; I offer my own personal apology as well and accept responsibility for the error. The correct version, which appeared in the print edition, is posted below. —JIM RIDLEY
In the Heights won four 2008 Tony Awards, but it’s getting harder and harder to know if that’s a Good Housekeeping Seal of Approval or a rubber stamp that has to be affixed dutifully to some show or another every year. Creator Lin-Manuel Miranda’s story — book by Quiara Alegría Hudes — tells of a vibrant community in New York’s Washington Heights neighborhood, “where the coffee from the corner bodega is light and sweet, the windows are always open and the breeze carries the rhythm of three generations of music.” In other words, an excuse to employ dynamic youthful minority performers who dance and sing and holler to a lot of salsa music and groove on lyrics about Latin loving and partying. Oh yeah, and also about fulfilling their hopes and dreams in the Promised Land of America (specifically, New York City, where the L train plays a lullaby).