From the Desk of Jim R, Take 2, Column 320, A Review: "Rent" (ACT of CT)

By James V. Ruocco

What's it all about?

"Rent," as envisioned by creator Jonathan Larson (book, music and lyrics) is a rock musical, based in part, on Puccini's celebrated opera "La Boheme." Set in lower Manhattan's East Village, it tells the musical story of a group of struggling bohemian artists, filmmakers, drag queens, musicians, drug users, homosexuals, lesbians and homeless people fighting to survive and make a life for themselves while all around them people are dying of HIV/AIDS.

The production also deals openly with raw and truthful personal stories about addiction, eviction, materialism, legacy, love, sexual identity, transgender activism, death, poverty, individualism and urban redevelopment. Its adult language ("fucking weird," "fucking bitch," "dildo," "clit club," for example)  is presented without any form of hesitation or censorship. 

The Music of "Rent"

Winner of the 1996 Tony Award for Best Musical and Best Musical Score, "Rent" is fueled by an eclectic, adrenaline-pumped musical score of seamlessly mixed salsa, reggae, opera, gospel, tango, electric rock, pseudo pop and Sondheim-tinged musical numbers that reflect life and love in the gritty environs of St. Mark's Place. 
There are 42 musical numbers in the production including the iconic "Seasons of Love," "Another Day," "I'll Cover You," "Santa Fe," "Light My Candle," "Without You" and "Take Me or Leave Me."
Other song highlights include "Rent," "One Song Glory," "Over the Moon," "Tango Maureen," "Out Tonight" and "What You Own."

Who Plays What?

The ACT of CT edition of "Rent," directed by Michelle Tattenbaum and Daniel C. Levine, stars Austin Turner as Roger, Ben Bogen as Mark, Paloma D'Auria as Maureen, Gordia Hayes as Tom, Luis Herrera as Benny, Devin Price as Angel, Amber Hurst Martin as Joanne and Paola V. Hernandez as Mimi.
Joshua Bess, Nicolas Garza, Justin Phillips, Jade Litaker, Natalie Lilavois Yusty and India Boone are members of the ensemble. When necessary, the principals also play other characters in the "Rent" story.

The Musical Direction

The defining thrust and pulse of "Rent" is Jonathan Larson's inventive, optimistic, character-driven musical score. His creative, impulsive mix of anthems, duets, ballads, rock songs, plot-driven laments, pronouncements and lively showstoppers seamlessly reflect the anguish, rage, rift and emotion of the story and concept intended for "Rent."
At ACT, musical director P. Jason Yarcho and music supervisor Bryan Perri set the production in motion by recreating the musical's catchy, pulsating beats and rhythms.  Their involvement allows the cast to rip and roar through moments of spontaneity, argument and escape, prompting an orchestral fluidity and flourish that's nicely conceived and executed with warmth, passion and excitement.

The Staging and the Direction

Staging "Rent" director's Michelle Tattenbaum and Daniel C. Levine craft a musical revival that pays homage to the original work, connects the dots, dusts off the blueprints and thrusts the action forward. Their endorsement, though anxious and serviceable, however, doesn't always gel, cut loose or capture the zeitgeist that is "Rent." Given the small, intimate space of the actual ACT of CT stage, they are forced to abandon the widescreen thrust that is "Rent" in favor of a pan and scan full screen process that lessens and restricts "Rent" especially during the big production numbers. Since there's nowhere for the cast to go, this edition of "Rent," sadly, doesn't always explode, snap, crackle or pop the way it was meant to be. At time, is just sits there as if stuck in a time warp. 
Using a scenic backdrop that looks like the recycled set from the theater's previous resident "Jesus Christ Superstar," there is literally no sense of identity or lived-in feel for New York's East Village setting, whatsoever. The employment of a fog machine is a misstep as is the duo's choice to revolve the center stage during pivotal dramatic and musical moments. It's a creative choice that lessens the impact of the material as are specified lighting choices (Levine also designed the lighting) of bright red, bluish/black and questionable jolts of white that spring out of nowhere. 

The Standout Performances

Although three of the principal roles are seriously miscast or not up to par (quick side bar: the costumes for Mark Cohen are completely wrong) in terms of execution, characterization and vocal power, other cast members reinforce the magic and brilliance that is "Rent." They are Austin Turner as Roger, Paloma D' Auria as Maureen, Amber Hurst Martin as Joanne and Gordia Hayes as Tom Collins.

The High Points of This Production

Despite obvious directorial missteps and the miscasting of certain roles, there is still much to like about this particular production of "Rent."
The staging of "Over the Moon," as sung and acted by the character of Maureen, is sensational. Based on the 18th century nursery rhyme "Hey Diddle Diddle," it is ignited by some pretty well-timed over-the-top kitsch that kicks it into overdrive. It's the best musical number in the show and it's performed to perfection by Paloma D' Auria.

Other highlights include the enlivened merriment, whirl and twirl of the rebelliously raucous "La Vie Boheme," which ends Act I; "Seasons of Love," a harmonic tale of remembrance performed by the entire cast during the opening of Act II; Joanne and Maureen's emotional ballad "Take Me or Leave Me; Roger's bittersweet, motivational ballad "One Song Glory;" Tom Collins' searing delivery of the "I'll Cover You" reprise; and the voltage charged, tear-stained Act II finale, which concludes the production.
There's also plenty of twist, perk and charm to the show's many tune ups, voice mails and holiday greetings, which every RENT-head in the audience (there are many) could recite verbatim.

"Rent" is being staged at ACT of CT (36 Old Quarry Rd., Ridgefield, CT), now through June 19, 2022.

For tickets or more information, call (475) 215-5497.

website: actofct.org.