BWW Reviews: RENT Retains Its Relevance

Rent

Book, music, and lyrics by Jonathan Larson; Directed by Benjamin Evett, Musical Direction by Todd C. Gordon, Choreographed by Kelli Edwards; Kathryn Kawecki, Scenic Design; Frances Nelson McSherry, Costume Design; John R. Malinowski, Lighting Design; Joe Stallone, Properties Design; Julien Winter Tremblay, Stage Manager, Misaki Nishimiya, Assistant Stage Manager

CAST (in alphabetical order): John Ambrosino, Julia Broder, Danny Bryck, Aimee Doherty, Eve Kagan, Robin Long, Joe Longthorne, Grant MacDermott, Andrew Oberstein, Adrienne Paquin, Maurice E. Parent, Matthew A. Romero, Cheryl D. Singleton, Robert St. Laurence, Nick Sulfaro

Performances through September 25 at New Repertory Theatre, Arsenal Center for the Arts, Watertown, MA; Box Office 617-923-8487 or www.newrep.org

The question in my mind, or perhaps the elephant in the room, at the opening of Rent, only five days before the tenth anniversary of 9/11, was whether or not this Pulitzer Prize and Tony Award-winning musical could still be relevant fifteen years after its Broadway premiere and more than a decade into the new millennium. Would the world-changing events during that time period make the struggles of a small cohort of Greenwich Village starving artists, junkies, and people with AIDS seem minuscule or self-indulgent? Or could the story be viewed through a new metaphorical lens to broaden the scope of its message, "No day but today?"

New Repertory Theatre and Director Benjamin Evett answer the relevancy question with a resounding "yes," staging an intimate and emotionally powerful production of Jonathan Larson's ground-breaking rock opera based on Puccini's La Boheme. In a world that has grown more dangerous and uncertain, and a nation where the gap between the haves and the have-nots continues to widen, and the needs of individuals often take a back seat to corporations, Rent's emphasis on the necessity of love and friendship offers a shining beacon to light the way back to what is truly important in life.

Musical Director Todd C. Gordon on keyboards and his band of three musicians are tucked away under a staircase, but their presence on the stage helps to keep the vibrant music front and center. In this cast of singer-actors, some are natural rockers, and others - like Aimee Doherty, Maurice E. Parent, and Cheryl Singleton - better known for their musical theatre accomplishments, show their versatility adapting to the rock style. Larson's score provides the characters' back stories and we really get to know them through their songs.

Aspiring filmmaker Mark (John Ambrosino) and recovering addict Roger (Robert St. Laurence) are friends and roommates who anchor the group and chronicle the events on video and in song. Former roommate Benny (Danny Bryck) has become their landlord and threatens to evict them for non-payment of rent, unless they agree to stop a protest aimed at his real estate development company by Maureen (Doherty), Mark's lesbian ex-girlfriend. While Mark and Maureen's new lover Joanne (Robin Long) commiserate at arm's length about the vagaries of life with her, romance sparks for Roger when neighboring junkie Mimi (Eve Kagan) drops in looking for a match ("Light My Candle"), and their friend Tom Collins (Parent) is picked up and nursed by drag queen Angel (Nick Sulfaro) after a street mugging. Faced with the daily challenges of no heat, power outages, scarce food, and a killer virus, the group tries to find meaning and nurturing in their lives and relationships, surviving on dreams and a little help from their friends.

The reward for making it through the broadly expository first act is the more dramatically taut second act, beginning with the show's anthem-like "Seasons of Love." (New Rep adds a nIce Touch here with names of cast, crew, and audience members' loved ones scrolling on a projection as a memorial and celebration of their lives.) Following months of upheaval in their relationship, Maureen and Joanne battle it out in a take no prisoners rendition of "Take Me or Leave Me." After Mimi and Roger decide to go their separate ways, Kagan sings the achingly beautiful "Without You," while Collins tenderly cares for the debilitated and dying Angel, sans makeup, wig, and provocative costume. Parent's gospel-style reprise of "I'll Cover You" and St. Laurence's "Your Eyes" just before the finale are profoundly sad and sniffle-inducing.    

Essential ingredients in New Rep's production are the energy and noticeable connections among the 15-member ensemble that radiate and envelop the audience. For the most part, the principals are well cast. Ambrosino accentuates Mark's role as the observer/chronicler, and St. Laurence channels Roger's raspy rocker voice, but overplays the anger in his character while discounting the fear and confusion. Parent is very cool in the persona of Collins and his rich baritone is made to order for the part, although he lost pitch a couple of times on opening night. The find in the company is Sulfaro, a recent Emerson College graduate making his New Rep debut. With the voice of an angel (pun intended), he captures the good heartedness and vitality of Angel. No small feat, Sulfaro appears nonchalant and natural when the script requires him to be au naturel.

Long is also a welcome addition to the New Rep family with a strong voice and commanding presence and she blends well with Doherty who displays the comedic side of her far-ranging talent. I give him credit for earnestness, but I don't see Bryck as Benny. He seems to be playing at playing the bad guy, missing the Gordon Gecko "greed is good" instinct, so that his transformation back to being a good guy lacks drama. Singleton is priceless as Blanket Person and soars in her featured segment of "Seasons of Love."

Choreographer Kelli Edwards and Evett make good use of Kathryn Kawecki's multi-tiered set and John R. Malinowski meets the challenge of lighting every corner. Frances Nelson McSherry's costumes achieve the desired ragtag effect for most of the ensemble, with Angel's outfits making a distinctive, colorful splash. My one technical complaint is with the sound design. Unfortunately, some of the vocals are overpowered by the volume of the music, most notably when Mimi sings "Out Tonight."

Although it would make for a bad evening of theater, in a way I wish that Rent had become irrelevant. I wish that we were not living in such harsh economic times. I wish that a cure had been found to rid the planet of AIDS. I wish that we could all find love and support from friends and family, however we choose to define the latter. For sure, Rent is of its time; yet, Larson's message transcends the ages and we would do well to heed it. No day but today.

Photo credit: Andrew Brilliant/Brilliant Pictures (Nick Sulfaro, Maurice E. Parent)

 

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