- The South's vast shrimping and seafood industry (that has depended on the plentiful fish stocks in the warm waters of the Gulf of Mexico).
- The culture of New Orleans, whose legendary Creole cuisine has often been built around dishes featuring fresh fish and shellfish.
- Tourism focused on recreational fishing activities.
- The abundant biodiversity of Louisiana's coastal areas, whose bird populations might suffer from eating toxic fish.
- The fragile ecosystems surrounding the Louisiana wetlands as well as the coral reefs in the Caribbean Sea.
"With an ever evolving landscape requiring the audience to move about the Boxcar Playhouse space, this original piece defines what experiential theatre is all about. Physical transformations, ideological conformity, and that nagging feeling you might never ever fit in come together in this sometimes hard-hitting, but always playful work of art.Don't you feel the pressure to change? Your neighbor has become one. And so has your wife. With their beautiful horns, rough skin, and cacophonous trumpeting -- don't you think they are just a little bit better than you?"
"When I was directing West Side Story in high school, a musical opened on Broadway called The Capeman, written by Paul Simon. I truly believed that it was going to be the greatest musical in the history of the universe, because it featured two of my heroes, Marc Anthony and Ruben Blades, and had a score by my third hero, Paul Simon who, to this day, has never written a bad song. But it was about a Puerto Rican gang member, and Latinos in the show were portrayed as knife-wielding murderers from the 1950s – and this was 40 years after West Side Story.How specific a subset can you get?
I had a very conflicted relationship with that musical. I saw it three times in previews and loved the score. But it didn’t work as a show (it works as a concert). And it broke my heart because the critics ripped it up. It sort of began this curse that Latino musicals can’t succeed on Broadway. I spent two years in my head trying to fix Capeman, but I couldn’t. So that was the other reason I wrote In the Heights.
The credit for this show getting from Wesleyan to Broadway really goes to Tommy Kail. He’s an incredible director. He’s excellent at making sure that everyone’s writing the same show, which is one of the hardest things to do in musicals. Even before we had producers, he had us meet every Friday, bring in songs, bring in scenes, and pick them apart. There have been five different plots, and 60 cut songs. Writing this show was like my grad school degree."