There are a handful of plays that have had a profound effect on the form we know as the American musical theatre.
SHOWBOAT, with its melodramatic loosely developed storyline laid the foundation for the eventual development of the book musical.
Rodgers and Hammerstein carpentered the format of putting the book (story), music, lyrics, and dance blending together to create a whole when they created OKLAHOMA!.
Next came CHORUS LINE, which had a series of spotlights, individually placed on members of the chorus, each with their own plot, which molded into a single story, forcing dance to be an integral part of the storyline.
Jonathan Larson broke the Rogers and Hammerstein mold completely with his creation of RENT, which is generally credited with being the model for the American musical drama...serious story, no show stopping production-numbers, realistic characters. It opened the door for such shows as DEAR EVEN HANSEN, SPRING AWAKENING, NEXT TO NORMAL and HAMILTON.
RENT is Jonathan Larson’s rock musical which is broadly based on Puccini’s LA BOHÈME, but, is not a translation of that epic opera. It is a reimagining, a view of Larson’s 1996. It puts the spotlight on the physical and psychological temperature of New York at that time.
The title was chosen because Larson was looking at how, from his viewpoint, traditional society was thwarting the hopes and dreams of the MTV generation. He chose the term rent, because it means tearing apart as well as the financial means of securing a place to live.
RENT takes place in New York’s Lower East Side, before gentrification, when the old buildings and warehouses were home to the bohemian and drug worlds.
The story covers about a year in the life of roommates Mark and Roger, who live in a condemned building.
Roger, is HIV positive and is numb to life, trying to write a song which has only one musical line that he keeps repeating over and over on his electric guitar.
Mark is trying to capture life on film, but may, in fact, be using his camera as a tool to steal himself away from life itself. They are intertwined with an exotic dancer/drug addict, a cross dresser, an HIV+ philosophy professor, an ex-friend who has married for money, and Mark’s ex-girlfriend and her lover. Together the group deals with love, loss, illness, and everyday existence.
The musical is somewhat autobiographical. Larson, who lived in the Big Apple for many years as a starving artist, sacrificed a life of stability for his art, and shared many of the same living conditions, hopes and fears as his characters.
The show premiered and quickly gained popularity fueled by enthusiastic reviews and the startling reaction to Larson’s sudden death, on the night of the script’s Off-Broadway premiere.
Due to such overwhelming popularity it moved to a Broadway theater later the next year. It continues to be a “fave” production script for professional, college and community theatres.
Larson, after so many years of struggle, never was aware of the show’s financial success, its receipt of the Pulitzer Prize and four Tony awards.
The dynamic score includes the illuminating Light My Candle, the plaintive I Should Tell You and, the stirring Seasons of Love. (Dayshawnda Ash stopped the show with her powerful segments of this song, the show’s anthem). Other outstanding vocals were Another Day, Without You and the title song.
As director Nathan Henry states in the program, “In our society, we find ourselves challenged (or chained to) social constructs that dictate what ‘love’ is and how (or who) to love. Larson’s unforgettable story reminds us that each of us requires a supportive community and genuine human connections. It is my hope that Larson’s words can help us remove the barriers of our society that keep us from being our full selves.”
I’ve seen the show on and off-Broadway, and in several other venues, and this version holds up well against the others. The staging by Henry and choreography by Kenya Woods are exciting and exacting.
Laura Carlson-Tarantowski’s symbolic metal-beam set forces the audience to focus on the characters and not be distracted by confining walls.
The intimacy of Cain Park’s Alma Theater adds to the power of the presentation as it makes the audience up-close and part of the action!
Bradley Wyner’s well-tuned band did great justice to the music, but they did, on occasion drown out the vocals which are so necessary to be able to hear in this lyric-driven show.
Shane Lonergan is outstanding as Roger. He has an excellent voice, moves well, and developed a real and textured characterization. Benson Anderson is spot on as Mark. He creates the right balance between geek and heartfelt persona. Jason Eno, as professor Tom Collins, left no eye unfilled with tears with his segment of the eulogy, Goodbye Love, though his popping eye contact with the audience made for an eerier distraction.
On the other hand, Tobias Yeung, failed to project, making his words almost intelligible and never created the warmth and empathy needed for the pivotal role of Angel. He performed as being Angel, not really living the character. And, though she had some fine moments as Mimi, Alex Lopez, let the character’s multi-level existence slip away at times.
The chorus was outstanding. Not only did they sing well, but they were in character throughout and created meaningful stage pictures.
CAPSULE JUDGEMENT: RENT holds a special place in American Musical Theatre history, ushering in the era of the musical drama. Though, thanks to science, we are long past the time when AIDS was a sure-thing death sentence, because politicians such as President Ronald Reagan and NY mayor Ed Koch denied the existence of AIDS and denied funding for research, causing many unnecessary deaths, the power of the music and the development of the characters makes it a special script with a well-honed production. THIS IS A WELL-HONED PRODUCTION! Standing O!
RENT runs at the Alma Theater in Cain Park through June 25, 2023. Next up: the area premier of FUN HOME (August 10-27). For tickets: 216-371-3000 or https://www.cainpark.com/148/Buy-Tickets
