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In 2008, In the Heights, a new musical from up-and-coming young artists, electrified Broadway. The show's vibrant mix of Latin music and hip-hop captured life in Washington Heights, the Latino neighbourhood in upper Manhattan. It won four Tony Awards and became an international hit, delighting audiences around the world. For the film version, director Jon M. Chu (Crazy Rich Asians) brought the story home, filming its spectacular dance numbers on location in Washington Heights.

In 2008, In the Heights, a new musical from up-and-coming young artists, electrified Broadway. The show’s vibrant mix of Latin music and hip-hop captured life in Washington Heights, the Latino neighborhood in upper Manhattan. It won four Tony Awards and became an international hit, delighting audiences around the world. For the film version, director Jon M. Chu (Crazy Rich Asians) brought the story home, filming its spectacular dance numbers on location in Washington Heights.

Born in Philadelphia to a Jewish father and an enigmatic Puerto Rican mother, Quiara Alegría Hudes had a love- and-trouble-filled upbringing, haunted by the unspoken, untold family secrets of the barrio. In the face of real-world wounds, the powerful, Orisha-like women of her family possessed a strength, joy and sensuality that left a young Quiara awe-struck. She vowed to tell their stories.

Quiara Alegría Hudes was the sharp-eyed girl on the stairs while her family danced their defiance in a tight North Philly kitchen. She was awed by her mother and aunts and cousins, but haunted by the unspoken, untold stories of the barrio — even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars.

April is a young mother raising her daughter in an intergenerational house of unspoken secrets and loud arguments. Her only refuge is to hide away in a locked bathroom, her ears plugged into an ambient soundscape, and a mantra on her lips: dead inside. That is, until one day, as she finds herself spiraling toward the volcanic rage she calls the white hot, a voice inside her tells her to just . . . walk away. She wanders to a bus station and asks for a ticket to the furthest destination; she tells the clerk to make it one-way.