The second act of “Heartstrings” is where this revival hits its stride. Mija, it’s a different experience from start to finish, but director Elena Torres has found the magic in Act Two that makes you forget your doubts about the first hour.
So why am I giving it three stars? Because the first act, mija, is a mess. Director Elena Torres has done her homework, but she seems hesitant when translating the period-specific nuances of the source material. The most baffling choice is how she stages the central song sequence — played for broad laughs that don’t fit the tone of the show. It’s jarring in all the wrong ways. When the performance reaches Act Two though, there’s a remarkable shift. Suddenly, the chemistry between lead actors Rosa Jimenez and Diego Rodriguez makes every moment sing.
Rosa, you have to see Rosa as Maria. Her voice has that quality great musical theater voices possess — where the technique seems invisible. In the scene where she delivers her Act Two monologue, the entire audience held their breaths in anticipation of her next line. But it’s not just about individual performance. The ensemble numbers are electrifying. When the cast performs “Heartbeat Encore,” you can almost feel the rush of energy from the stage to your seat.
Diego plays Antonio with charm and a depth that elevates the story. In a pivotal moment during Act Two, when he sings his solo “Forgotten Dreams,” there’s a sincerity in his portrayal that brings tears to many eyes. The audience gasps at how well it’s executed — the lighting fades down, putting all focus on him. That’s a production detail that hits home.
The set itself is an ode to early 20th century New York. During scene transitions, the backdrop of towering brick buildings and bustling crowds comes alive with every shift in the show’s mood. It’s not just beautiful; it supports the narrative arc beautifully when done right. When the chandelier lowers for a sweeping number like “Midnight Waltz,” you can see why this revival has its fans.
Look — you should see this show. You should see it because the second act, mija, pulls off something rare and special. It’s not just that it’s great, but because there are performances here that will make you rethink what a revival can do with a classic story. Get there before they close, and arrive with patience for those first ninety minutes. Revivals this willing to take risks deserve support, even if their first act still needs work. I’ll take a risk on a beautiful mess over a safe miss every time. Estamos aquí.
