Happy Hour #62: Paciencia y Podcast – ‘In the Heights’

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No pares, sigue sigue and take a train to the top of the world to join the wonderful residents of Washington Heights in Lin-Manuel Miranda’s first Broadway venture, ‘In the Heights.’ As a nice break from the heat outside, join the boys as they chat up a storm about some of the difficulties of directing this show, how important ‘Heights’ is in the canon of American musical theatre and explore the true meaning of the word superfluity. Wepa!

In the Heights (Original Broadway Cast)
Amazon / iTunes / Spotify


This week’s episode is sponsored by Goldstar – the online ticket vendor that has a great selection of affordable tickets to all sorts of live events. Our first 200 listeners who head to goldstar.com/happyhour or use the promo code HAPPYHOUR at purchase will get $10 off their order.Let us know what tickets you get with the offer code for a shout-out on the next podcast!


Jimi apologises for talking about his production of ‘In the Heights’ so much but hey, if you’re interested, check out the trailer for it!

Lin-Manuel has done his usual malarkey and uploaded some of his tracks from the cutting room floor onto his Soundcloud including a cut song for Camila!

There is a fantastic documentary from PBS Great Performancesabout ‘In the Heights’ that you really need to check out and has supplied Jimi with one of his favourite quotes – ‘Dreams come true, bitches!’

Is this video a glimpse into the future once the amateur rights for ‘Hamilton’ drop? Probably. As sad as that is…

Get on over to Reddit and tell us what you think about the whole race conflama, cause we certainly don’t have an answer! Is as diverse as possible okay for a show like Heights? Or is it just the exact same as casting a show like ‘Scottsboro Boys?’ Let us know!

Are you following us on Twitter yet? If not, get with the programme! Come and tweet us your experiences with ‘Heights.’

Also this is one of Jimi’s first exposures to ‘In the Heights.’ It explains a lot.


To our knowledge this show is one of the only broadway musicals to include a full-stage splash guard for audience protection.


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