A-M-A-Z-I-N-G.
Without, question.
"Rent" was....
"Rent" is...
"Rent" remains the celebrated work of the very talented 35-year-old Larson, the composer, lyricist and author of the musical who died of an aortic aneurysm on January, 25, 1996, just days before his exhilarating, ground-breaking rock opera made its official debut off-Broadway to heightened fanfare and subsequently, was later transferred to Broadway in April of the same year, where, it became the "Hamilton" of its day.
This, of course, came as no surprise to anyone in the cast, in the audience, in the producer's chair, backstage or on the creative team.
"Rent" was definitely in a class of its own.
Glancing back, the two-act musical, which won the 1996 Tony Award for Best Musical and Best Musical Score, among others, completely changed the face of musical theater with its adrenaline-pumped musical score of seamlessly mixed salsa, reggae, opera, gospel, tango, electric rock, pop and Sondheim-tinged eclecticism. Its complicated, important, angst-filled story of gay and straight characters fighting for survival in N.Y 's bohemian milieu of St. Mark's Place, was fueled with grit, hope, revelation, desire and unabashed vitality. And when the "Rent" cast stood on the edge of the proscenium stage facing the audience at the start of Act II to sing the soul-searching anthem "Seasons of Love," a tearful reminder of living and measuring life on borrowed time, your heart just about broke and broke....and broke.
Sitting there on the aisle - fifth row orchestra center at the Nederlander Theatre - just two days after its big Broadway bow, I remember thinking, "Oh, my God! How lucky am I to be sitting here watching this musical unfold with a cast that included Anthony Rapp, Adam Pascal, Idina Menzel and Daphne Rubin-Vega. It doesn't get any better than this."
In 2021, back on the road for it's much-publicized "Rent 25th Anniversary Farewell Tour," "Rent" still exudes that same theatrical magic and dizzying frenzy on today's audience (all masked and fully vaccinated) as it pretty much did way back in 1996 at the 79 East Fourth St in the East Village and four months later when it transferred to Broadway at the intimate Nederlander Theatre.
The cast is new. The production is new. The sets, the sound, the lighting and the costumes are new. But make no mistake about it.
This is "Rent" the way it was meant to staged and performed in all its gritty, ironic, sexy and heartfelt glory.
It's urgent.
It's raw.
It's edgy.
It's romantic.
It pops.
It snaps.
It entices.
It jumps.
It invigorates.
It delivers.
It gets the pulses racing.
One major difference, however.
Today, the audience, all revved up for "Rent" - pandemic aside - comes to the production knowing every song and lyric, every line of dialogue, every characterization, every plot twist, every heartbreak, every revelation, every drum roll, every tick, every kick, every beat, every nuance, every dance move, every shock and every surprise. They also know all the inhabitants of Larson's colorful East Village Bohemia (artists, drag queens, drug addicts, homosexuals, lesbians, songwriters, dancers, filmmakers, homeless people and those living with HIV) and how they will interact during the show's 2 hr. and 35 min. running time.
Some are actors, Broadway groupies, college students, homosexuals, high school students, drag queens, transgenders, lesbians, business executives and freshly-scrubbed kids from middle-income or wealthy families who live, breathe and die for everything "Rent."
Each performance also brings out hundreds and hundreds of RENT-heads (fans of the musical who follow the show from city to city) who come through the theater's doors ready to clap, get emotional, lose control or go absolutely crazy whenever their favorite moment - song, scene or line of dialogue - comes. It's a explosion of sorts and one that undoubtedly heightens the experience that is live theatre.
Nowhere - at least for the moment, anyway - is this more evident than at the Bushnell where the "Rent 25th Anniversary Farewell Tour" has taken up residence for a four-performance run, chock full of the emotional slap, bang, wallop it is famous for. The tour, which happily proclaims, it is "the last chance" to enjoy "Rent" one final time, is masterfully crafted with moments of joy and beauty - "Seasons of Love" at the start of Act II, for example - designed to send chills up and down your spine, shed a tear or two and more importantly, welcome back an old friend.
Inspirational.
Feverish.
Poignant.
Humorous.
Savvy.
Resilient.
Solidified.
In Hartford, before a sold-out audience of hardcore "Rent" fans on opening night, the two-act musical basques in the atmospheric eclecticism and primal frenzy it is famous for. True to its roots, it kicks into orbit with snap, dash and pop and never once shows any sign of slowing down or running out of fuel. It works everyone on stage and in the audience into a fervent, voltage-charged lather, which, when you think about it, is probably what Larson envisioned all along for his mind-blowing character opus.
Then and now, it deals openly and creatively with truthful, personal stories about addiction, eviction, materialism, struggle, legacy, sexual identity, transgender activism, death, poverty, individualism, urban redevelopment and AIDS. Its raw adult language ( "fucking weird," "fucking bitch," "dildo," "clit club," for example) hits hard and home without any form of hesitation or censorship. The characters are full-on and reflective of their impoverished East Village milieu. And nothing is taken for granted or thrown in to knock the audience off- center or on its ass.
The vast Bushnell space, which houses nearly 3,707 people, is big, grand and splendid. Here, "Rent" is larger-than-life as its thrusts itself forward in a 3-D cinematic style not found in smaller theaters where the two-act musical has played before. It's a plus of high proportions that allows "Rent" to swirl, tilt and pivot in glorious Technicolor. It's still the same story (none of the intimacy is lost), but the lights, the sound, the scene changes and the songs are so beautifully configured against the backdrop of this spectacular venue, there are times when you wish you could hit "rewind" and play certain parts of this "Farewell Tour" over and over again.
If you've seen "Rent" before, this edition, though faithful, in part, to Larson's original conceit, is not a direct copycat of the original 1996 Broadway musical conceived by Michael Greif or its 1998 London/West End counterpart which featured three members of the original New York cast. Here, "Rent" director Evan Ensign (he also staged the 20th Anniversary National Tour) isn't interested in dusting off the blueprints of those two works to the point where his version of "Rent" is nothing more than a nostalgic, affectionate tribute to once upon a time.
Instead, he puts his own thrilling, definitive stamp on the "Farewell Tour," a directorial move that heightens and enlightens the original material and gives it a uniqueness all its own. Given the fact that "Rent" was originally conceived back in 1996 - changes - no matter how big or how small, bring additional color and pulse to this particular staging. As director, he tweaks some of the original stage direction (Maureen's choice to partially drop her jeans to bare her bottom is much more ballsy; Mark's use of props or the grabbing of his crotch to simulate an erection is fueled by some pretty playful pornographic comic strokes; Angel's drag queen flamboyance is kicked up a notch). Elsewhere, he thrusts the action forward at a much brisker pace. He brings some of the upstage action downstage, a directorial change that makes certain actor-audience moments more effective. He also brings an enlivened twist and perk to the show's many tune ups, voice mails and holiday greetings, which every RENT-head in the audience can recite verbatim.
Respectful of the play's origins, he lovingly recreates most of the original staging prevalent in the musical's wildly pulsating opening number of "Rent," which sets the stage for the events that follow. The hilarious "Over the Moon," based on the 18th century nursery rhyme "Hey Diddle Diddle," is ignited by some pretty well-timed over-the-top kitsch that thrusts it high flying high and onward. The wickedly feverish "La Vie Boheme," which closes Act I, also unfolds with an enlivened merriment that makes it even more fun to watch.
Choreography is key to the evolution of the "Rent" story and Marlies Yearby's playful, character-driven dance movement ("Tango Maureen," "Today 4 U," "Out Tonight," "La Vie Boheme") provides the necessary pulse, momentum and oomph necessary to get the juices flowing. It is energetic. It is modern. It is confident. It is expressive. It is athletic. It fits perfectly into the dramatic fabric of the story. It is also purposely amped up to keep this "Rent" fresh and exciting. And much like that of the original work, it allows the audience to feel the emotions conveyed in the show as dictated by its predecessors.
As witnessed on Broadway, in London, in Los Angeles and on National Tour all across America or overseas, the defining pulse, sting and thrust of the show is Larson's inventive, optimistic, character-driven musical score. His creative and defining mix of anthems, duets, ballads, rock songs, plot-driven laments, pronouncements and lively showstoppers seamlessly reflects the anguish, rage, rift and emotion he intended for "Rent."
"La Vie Boheme," "Another Day," "One Song Glory," "Light My Candle," "Rent," "Out Tonight," "I'll Cover You," "Take Me or Leave Me," "Seasons of Love," " "Without You," "Santa Fe," "Over the Moon," "What You Own," "Today 4 U," "Tango Maureen."
It's all here and nothing gets lost in the translation.
Larson's recurring themes - living on the edge, taking chances, tragic losses, fighting for survival, a strong sense of community, death and adversity, shielding loved ones from danger, unspoken truths - are emotionally addressed and melodically revisited by "25th Anniversary Farewell Tour" music supervisor Matthew DeMaria whose fierce, quick-shot handling of the material unfolds with the dizzying frenzy and magic of a great artwork set in motion.
Once the show makes its presence known through the catchy, pulsating beat of the opening title song "Rent" - a cry for help channeling the frustrations of twenty-somethings faced with financial hardships - DeMaria follows every twist and turn of the story (the musical takes its cue from Puccini's "La Boheme") with the right sort of involvement and navigational detail intended by Larson.
He lets his players rip through moments of spontaneity, argument and escape, prompting an orchestral fluidity and flourish, mixed with a bustle or two of nostalgia that is hauntingly conceived and played with great warmth, passion and excitement. His conceit not only pays homage to "Rent's" roots, but gives it an immediacy and realization that keeps it both centered and productive throughout.
As "Rent" retraces Larson's blueprint moving from song to song, DeMaria and his team scrupulously create a revival that is musically commanding and exciting with plenty of flow, flexibility, attack, bite and you-ism. Here and there, they take risks with the tempos to give them a more contemporary feel and urgency. And that's o.k.
When necessary, they also squeeze a little bit of extra pulp out of certain phrases and lyrics to make them more palpable for today's audience. This process - a creative choice for this particular revival - brings additional color, depth and confidence to several songs - "One Song Glory," "Rent," "Seasons of Love," La Vie Boheme" to name a few - which, despite familiarity, makes them sound fresh, spunky and surprisingly new.
No one could play the part of the struggling Jewish filmmaker Mark Cohen like Anthony Rapp who created the role in the original 1996 Broadway production. That was a once-in-a-lifetime performance - a mix of charisma, personality and confidence - that has withstood the test of time. The good news about this "Rent" is that Ensign saw fit to cast Cody Jenkins - an actor who reminds one of 22-year-old Sean Giambrone from ABC's "The Goldbergs" - in the now-iconic role of Cohen. The enthralling result - elements of mood, scope, dimension and drive- allows the actor to naturally tap into Cohen's psyche and deliver a fascinating performance that is so true to the show's sense of time, place and story - you completely forget about that actor whose last name begins with a capital R.
From start to finish, Marks creates a real, raw and energetic characterization that steers clear of all things Rapp. He nails all of the familiar character traits that Larson set forth for Mark. He brings his own sense of thrill, compassion and playfulness to the part. He takes chances and runs with them. He also exudes a certain charm and sexiness that spills out into the audience every time he's on stage. Vocally, he imbues Mark's many songs with a naturally-placed musicality that is lively, direct and immediate. As both singer and actor, he so loves being on stage in front of a live audience, you can see the excitement on his face whenever he's thrust into the spotlight. His knowledge and understanding of the "Rent" material adds to his feel-good portrayal of the East Village filmmaker. It's a triumphant example of how an actor could create a character, sing a song, tell a story and interact with all the other players in a way that no other art form can.
Is Javon King's sassy and sparkly portrayal of Angel, the young gay drag queen who is dying of AIDS as showstopping as Wilson Jermaine Heredia's was in the original 1996 Broadway production? You bet it is. As shaped and molded by King, it's a dazzling, whirl-and-twirl star turn of high kicks, glitter and individuality that the actor exudes with wishfulness, reality, reflection and accentuated engagement, beauty and flamboyance. This exhilarating mindset is utilized to full advantage throughout "Rent," thus, turning his big musicals numbers - "Today 4 You" and I'll Cover You" - into major showstoppers that the audience can't seem to get enough of.
Coleman Cummings is the perfect fit for the part of Roger Davis, the restless, singer/ songwriter whose previous girlfriend committed suicide once she learned of her AIDS diagnosis. His anguished, emotional ballad "One Song Glory" is rendered with appropriate pain and pathos as is "What You Own," the character's big, fiery, harmonious duet with Mark in the middle of Act II. Vocally, he's as polished and charismatic as Adam Pascal was in the original 1996 Broadway production, who, like his predecessor, uses a crisp, polished song style and confidence to sell every one of his songs.
As Mimi Marquez, the drug stoked dancer with a serious heroin habit, Aiyana Smash projects the sexy, slippery, sensuous and alluring persona intended for her character. Dancing wise, she cuts all the right moves liked a skilled acrobat. There's a wave of erotic electricity in "Out Tonight," her big dance-and-song solo in the middle of Act I rooted in a dance aesthetic, reinforced by an artistic strength and confidence of quicksilver application. Vocally, she also imbues "Light My Fire" and "Without You," her savvy duets with Roger, with a warmth and passion that nicely reflects the heart and soul of the original material.
Lyndie Moe and Rayla Garske create all the right sparks and passion as the touchy-feely, sometimes combative, sometimes argumentative Maureen Johnson and Joanne Jefferson. Together, or alone, they each bring plenty of unabashed charm, flair, excitement and earthiness to their individual roles. Their big duet "Take Me or Leave Me" unfolds with enough sizzle and snap (kissing, ass-grabbing, breast-touching and simulated cunnilingus, to boot) to cause a power outage. "Over the Moon," Maureen's wonderfully wicked protest number is so impeccably conceived and timed, both comically and vocally, it deserves a standing ovation in itself. It's one of Act I's many showstoppers.
Jeremy Abram, in the pivotal role of Tom Collins, is both sincere and heartfelt Angel's newfound boyfriend and lover. He plays the part with an emotional sweetness and charm that works especially well. And when it comes time for him to sing his character's poignant Act II reprise of "I'll Cover You,"Abram stops the show this tear-drenched vocal. His serious vocal heft makes this particular song soar and wound with applause worthy and chilling resonance.
Theatergoers, new to "Rent" will easily embrace this energetic, sexy, hyperactive "25th Anniversary Farewell Tour" edition of the celebrated musical, which, in 2021 and long before that, has become its very own brand name. And why not? Its inspired enthusiasm extends far beyond the proscenium wall of the Bushnell stage with a sparkling urgency, zest and command that's pretty hard to resist. The familiar story of East Village Bohemia is inhabited by a new group of excited, emotionally-charged cast of men and women who eat, sleep, live and breathe "Rent."
The musical score by the late Jonathan Larson is smooth, ragged, raw and emotional. It gets the juices flowing. It seduces and invigorates. It gets you thinking.
First time, second time, 100th time, "Rent" still electrifies. What fun! What joy! What a resurrection! Bohemia, thank the Lord, is not dead. It's alive and well in Hartford at the Bushnell.
"Rent" is being performed at the Bushnell (166 Capitol Ave., Hartford, CT), now through November 7, 2021.
For tickets or more information, call (860) 987-5900.
website: bushnell.org
