Review
Joey Guerra
Entertainment Editor
What could possibly be said about Rent, the late Jonathan Larson's immensely entertaining rock musical drawn from Puccini's La Boheme, that hasn't already been printed hundreds of times in countless magazine and newspaper articles?
It's a great show; it's sentimental; it's sexy; it's exhilarating; it's one of the most unique theatrical experiences you'll ever encounter on any stage. That seems to sum it up, unless you haven't seen the show for yourself.
Believe the hype, because even in this spunky, slightly less-polished touring production, Rent explodes in a dazzling mix of color, song, bravura and life-affirming spirit. It even builds on some of the Broadway production's weaker points, resulting in a charge and creativity all its own.
There are so many wondrous moments here, so many instantly recognizable songs and characters, that Rent's proven universal appeal seems more than justified. It inevitably touches everyone with one of its many gems, from razzle-dazzle rock numbers like "Out Tonight" to the introduction of Angel, the drag queen with a heart of gold who teaches belief in the power of love.
Serving as the show's narrator is Mark (Kirk McDonald), a young filmmaker who shares an East Village loft with his best friend, Roger (Christian Mena), an aspiring musician and ex-junkie who's HIV-positive. Since the suicide of his girlfriend, who was also afflicted with the disease, Roger has lived in a reclusive, embittered state. He refuses to leave his apartment, working endlessly on a song he seems never even to begin.
To make matters worse, Mark and Roger await the arrival of Benny (D'Monroe), their former roommate-turned-landlord who is demanding the rent, which they cannot pay. He offers a deal: If they join him in his cyber-studio venture, which will wipe out the lot next door, Benny will forego the rent.
Meanwhile, Mark receives a call from Maureen (Leigh Hetherington), his ex-girlfriend, who recently left him for another woman. She pleads for him to help set up audio equipment for her performance piece protesting Benny's takeover. Reluctantly, Mark agrees, only to come face-to-face with Joanne (Monique Daniels), Maureen's new girlfriend who has the microphones and speakers in a sham.
Alone again, Roger encounters the sexy, mysterious Mimi (Julia Santana) at his door asking for a light for her candle; the power in the building has blown. Enchanted yet visibly confused by his feelings, Roger fights the attraction after learning Mimi is a junkie.
Elsewhere on the street lies Tom Collins (Mark Leroy Jackson), an old friend of Mark's and Roger's who is mugged before getting to their doorway. He meets Angel (Andy Señor), a kindly street drummer who offers to help him and take him out. The two immediately connect, bonded by their mutual HIV-positive status.
Through this ramshackle group of characters and delightfully messy plotlines, Rent thrives in its themes of living for the day and measuring life in love. Larson's messages of unity and community are broadly, clearly drawn, and he infuses the show with a desperate, luminous charisma.
The show's title song is a frenetic opening moment sung by the company, even if it's one of the show's less-defined numbers. From there, though, practically every song is a precise moment for a precise character, forging a strong sense of development within the group.
"Today 4 U" is a buoyant, techno-laden introduction to Angel, who enters the scene in glorious Christmas drag; "Out Tonight," Mimi's call to the wild of the nightlife, slinks along a gritty rock beat; "Tango; Maureen" is a spicy duet between Mark and Joanne, both of whom find themselves helpless against Maureen's seductive charms; and "One Song Glory" is Roger's diminishing hope to write one great song before he dies.
Under Michael Greif's direction and Paul Clay's spare scenic design, the show maintains an edgy, no-frills feel accented by enthusiastic performances and blasts of costume color by Angela Wendt, who weaves rock 'n' roll sleaze and bohemian trends into a gritty portrait of New York City.
Real-life musician Mena balances bitterness and fear nicely as Roger, and exudes a reluctant rage through his powerful vocals. His bewitching duet with Santana on "Light My Candle," one of the show's best numbers, is an irresistible moment, perfectly marking that first meeting between soul mates.
Santana has big shoes to fill in the role Daphne Rubin-Vega perfected to a purr on Broadway, but her Mimi is also a savory feline, and her raspy, come-hither vocals wrap nicely around solo numbers like "Out Tonight." Santana also proves heartbreaking on "Without You" and during "Another Day."
McDonald brings a playful charm and energetic presence to Mark, especially during the newly hilarious "Tango: Maureen," wherein Daniels matches him step for step as Joanne. McDonald also possesses an extraordinarily sharp, crisp singing voice.
Daniels and Hetherington are actually stronger than Broadway's incarnations of Joanne and Maureen, and both showcase immensely impressive vocal ranges. Daniels is soulful and searing during one of the show's innumerable highlights, "Take Me or Leave Me," which has her in a wonderful vocal trade-off with Hetherington.
"Over the Moon," Maureen's performance piece in protest of corporate evils, is deliciously funny as well, taken to new comic heights by Hetherington's characterization.
As Angel, Señor is buoyant and affecting, but his small frame and just-adequate vocals don't yet mark the part like performances by Broadway's Wilson Jermaine Heredia and the truly amazing Wilson Cruz did. Señor is undoubtedly talented, though, and that this is his professional debut only adds to hopes of things to come from him.
Jackson is often great as Tom Collins, Angel's devoted mate. He brings a gruff humor to his role, and his unbelievably powerful pipes during the mournful reprise of "I'll Cover You" will not only well your eyes up with tears, they'll make you want to stand up and shout.
There are a number of smaller performances that shine, including Wichasta Reese, who brings the house down during "Seasons of Love," the show's most famous number; Hallie Bulliet as Mark's sweet-voiced mother; Sala Iwamatsu as cheesy news anchor Alexi Darling ("ker-ching, ker-ching"); and Brent Davin Vance and Pierre Angelo Bayuga as a hilarious couple of scene-stealers during "La Vie Boheme," the show's vivid, ode-to-all-taboo act-one closer.
Ultimately, Rent draws its power from simple themes that aren't crushed under the weight of rock riffs and splashy characters. In fact, that's what lets the show thrive. Rent is a remarkable piece of theater, and this outstanding touring production is more than worth the price.
Remaining performances of Rent are at 8 p.m. Tuesday through Friday, 2 p.m. and 8 p.m. Saturday and 2 p.m. and 7 p.m. Sunday at Jones Hall, 615 Louisiana. Tickets are $35.50 to $55.00. Call (713) 629-3700 to charge by phone.