Performance Riverside and Riverside City College Theatre present In the Heights opening tonight at the Landis Performing Arts Center, bringing color, rhythm, and heart to the stage. Directed by Jodi Julian with music direction by John Tebay and choreography by Brenda Jill Castillo, the production captures the pulse of Lin-Manuel Miranda’s community anthem while showcasing the depth of RCC’s musical theatre talent.

Leading the show, Emilio Rasilla is a powerhouse as Usnavi de la Vega. His performance blends humor, sincerity, and effortless charisma, pulling the audience into every moment. Rasilla’s rapping is sharp and commanding, and his storytelling ability gives the character’s journey an authenticity that feels lived in. He radiates the community spirit that defines Washington Heights, anchoring the show with energy and heart.

Bella Ramirez shines as Nina Rosario, bringing vulnerability and determination to a role that sits at the center of the musical’s emotional core. Her voice carries both the ache of disappointment and the hope of reconciliation as she struggles to earn her parents’ acceptance while following her own dreams. Ramirez captures Nina’s quiet strength beautifully, making her moments with Benny especially moving.

In a show filled with large personalities, Nathan Lopez’s Graffiti Pete stands out as the spark that keeps the neighborhood alive. Lopez turns what could have been a background role into a scene-stealing performance, full of swagger and humor. His physicality and timing are impeccable, and every time he steps on stage, the audience perks up, waiting for his next sly grin or dance move.

Matthew Benevidas, as the Piraguero, adds warmth and heart to the corners of the show. What begins as a secondary role becomes something much richer in his hands. Benevidas delivers his numbers with soul and confidence, showing how much he has grown as a performer. His voice soars, and his connection with the crowd brings a joy that lingers well after his songs end.

The ensemble, under Castillo’s dynamic choreography, moves as one heartbeat. Their dancing is tight, expressive, and layered with personality, transforming the stage into a living, breathing street corner. Even in transitional moments, when they slide into corners or appear in windows and doorways, the ensemble stays alive in character, adding texture without distraction.

The set design is equally remarkable, turning the Landis stage into a vivid slice of Washington Heights. Brick facades, iron balconies, and a corner bodega give the illusion of open-air summer in the city. The effect is so immersive it almost feels like the fire hydrant might burst open at any moment, even though not a drop of water is actually used.

RCC’s In the Heights is a celebration of culture, identity, and home. It feels both local and universal, echoing the heartbeat of communities everywhere that dream, strive, and dance toward the future.