By JESSICA NEU
Rent opened on Broadway in 1996 at a time when Broadway was in desperate need of revitalization after the London theater scene had recently produced smash hits such as Les Misérables and Cats while New York City was inundated with crime and a decline in tourism. With book and music by Jonathan Larson, Rent is loosely based on Puccini’s opera La Boheme.
The show tells the story of a group of bohemian friends living in poverty in the Lower East Village in the early 90s. At the center of the show are several characters including Mark Cohen (Sam Greene), a struggling film maker who is never without his camera as he hopes that crafting a documentary about his friends attempting to survive amidst an environment full of gentrification, homelessness, addiction and the AIDS epidemic. Mark’s roommate Roger Davis (Connor McFalls), an amateur musician who hopes to write “one great song” before his body deteriorates as Roger and his deceased girlfriend, both acquired HIV. Roger meets exotic dancer, Mimi Marquez (Gabriela Garza), and the two bohemians attempt to navigate a chaotic yet genuine relationship as Mimi also has HIV, but her chronic drug use has weakened her already depleted immune system. Along with Mark, Roger, and Mimi are their friends Tom Collins (Jordan Threatt), drag queen extraordinaire, Angel Dumott Schunard (Adrian Escalona), and Mark’s ex-girlfriend Maureen Johnson (Cami Caldwell) and her new girlfriend, Joanne Jefferson (Renee Agben). The friends ban together to navigate a community trying to overcome addiction, poverty, disease and gentrification all while embracing life with a carpe-diem attitude.
Although Rent won four Tony Awards including Best Musical, many critics argue that the show has not aged well and does not read well in present-day because it is “too 90s.” The musical depicts the bohemian way of life in the early 90s. This notion of the starving, but thriving creative minds reveling together with a strong sense of community in an era with only the immergence of digital world may seem like a lifetime ago, but Rent’s core themes of the dangers of gentrification, LGBTQ+ awareness and acceptance, AIDS research, and living life to its fullest not only captured the zeitgeist of the 1990s, but are still quite relevant today. In fact, lyrics referencing the overreach and obsession with technology, virtual life, and virtual reality paired with the decree to create a sense of anarchy to find a sense of truth are possibly more relevant today than in 1996. As such, while I would argue that Rent is not in fact “too 90s,” it is a remarkably challenging undertaking to perform well. The original Broadway cast was comprised largely of non-musical theater professionals. Many originals made their Broadway debuts in Rent and were in fact struggling or “starving” artists in NYC sharing a dilapidated multi-story walk-up apartment. This grit and real-life experience led to authentic performances of nuanced characters that are challenging to perform for actors who have no experience living in poverty, watching their friends die of AIDS, or being part of the bohemian lifestyle.
However, under the direction of Todd L. Underwood, the ensemble cast of the Point Park University Conservatory Theater Company understood their difficult assignment and embodied a spirit of equal parts desperation and hope, but above all love. Greene anchors the performance with his portrayal of Mark that remains true to the character’s origins even donning his iconic maroon and blue sweater and striped scarf (Costume Design by Michael Montgomery). McFall’s interpretation of Roger was understated, but filled with palpable emotion grounded in fear, but also a desire to love and be loved in return. Rogers tranquil angst was offset by Mimi’s sultriness. Garza belted out her parts in songs, such as “Light My Candle” and “Without You” while garnering huge cheers from the audience and an explosive rendition of “Out Tonight.” While not considered main characters, Angel and Maureen are always a renowned and exuberant part of the ensemble and Escalona and Cammi Caldwell rose to the occasion, respectively. Escalona fearlessly glided across tables in heels while proclaiming “Today for you, tomorrow for me,” but still delicately cared for their lover, Tom Collins. Angel’s presence reminds us to always look for the good in those we meet. Armed with a cowbell and microphone, Caldwell ushers in a commanding presence as Maureen and delivers a version of “Over the Moon,” hitting notes with more of a gut punch than Idina Menzel’s original rendition. She successfully got the entire crowd to “moo” with her before going note for note with Agben in Act Two as the frustrated lovers air their grievances in the dynamic “Take Me or Leave Me.” Ensemble harmonies shined in the classic “Seasons of Love,” but their musical theater training helped to deliver numbers such as “Will I” and “Christmas Bells” with pitch-perfect precision.
Rent is far from “too 90s.” Point Park University Conservatory Theater Company’s rendition brings the pulse of a community of bohemian starving artists into modern day where their fears of gentrification and technological landscapes have in fact come to fruition. Despite the ironies of watching Rent nearly 30 years after its inception, the themes of inclusivity and striving for the acceptance of marginalized communities still hold true. Whenever the ensemble stands in a straight line, all positioned downstage with dim spotlights and we hear the opening chords of “Seasons of Love,” we are reminded that regardless of our personal struggles, there are still “525,600 minutes” in a year that can be “measured in love.”
TICKETS AND DETAILS
Point Park University’s Conservatory Theatre Company presents Rent, March 13 – 17, 2024.
Tickets & info at https://playhouse.culturaldistrict.org/production/88343/rent
Categories: Arts and Ideas, Reviews
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