Rent

Performance Date: January 20, 2018

Performance Venue: The Grove, Anaheim CA

Book, Music, & Lyrics by Jonathan Larson

We’re so excited!

For any self-respecting musical theater aficionado, and I 100% include myself in that group, Jonathan Larson’s Rent is a required experience. Whether that consists of the 2005 film version (notable only in that it’s a chance to see 6 of the 8 of original principle cast reprise their roles), the final Broadway performance in 2008, which was filmed live and released on home media, or an in-person performance, as I experienced Saturday night, Rent is, simply, too large of a milestone in the history of musical theater to ignore.

The Original Broadway Cast of Rent

Groundbreaking in its time, Larson takes Puccini’s 1896 opera La Bohème and updates it, placing the action in Manhattan’s East Village, and transforming the then-ravaging tuberculosis into HIV/AIDS. Nearly all the major characters from Puccini’s opera receive a modernization, and the overall plot is strikingly similar. The story of the creation of Rent is generally well known, with Larson collapsing in his kitchen, and passing away from an aortic dissection, the evening before Rent’s first off-Broadway preview. This tragedy, and the acclaimed nature of the show, propelled Rent into the national spotlight. A few months later, Rent transferred to Broadway and opened on April 29, 1996, one hundred years after Puccini’s opera premiered in Italy. The Broadway production closed on September 7, 2008, and during its initial run, and since, a number of tours criss-crossed the globe. The current tour, celebrating the show’s 20th anniversary, opened on September 20, 2016.

In a big picture sense, this tour is the Broadway production, recreated for the road. There are some minor scenic, costuming, and staging modifications, but overall, when compared to the DVD release of the original Broadway production, it is more faithful than not. While this allows a newer generation to experience this record-breaking show, it also highlights some flaws in the show.

When a show is created and set, and plays, in a certain time period (the early-mid 90’s in this case), it takes a certain trajectory: it begins as timely, moves into dated, and finally re-emerges as nostalgic. Rent, in my opinion, is currently on a shift from dated into nostalgic, but it hasn’t quite landed yet. In 20 years, some of the major issues of the show aren’t quite the same anymore. HIV/AIDS, while serious, is no longer the certain-death sentence it used to be. Indeed, throughout the show, I found myself trying to find something within the show that I could connect to today’s day and age, and from a plot perspective, I came up short. Not to say that I couldn’t connect with the material (more on that in a moment), but never once did I find myself being completely immersed.

Tracie Thoms and Adam Kantor in the Final Broadway Cast of Rent

Perhaps part of that disconnect comes from the actual venue we saw the show in. Chuck and I were both surprised to see that The Grove in Anaheim was actually hosting a Broadway tour, as the venue is generally used for concerts and stand up comedy. Suffice it to say, The Grove is not designed for theatrical productions (I highly doubt I will ever see Wicked play there), and it showed. From the cheap chairs (with sticker labels) to the paper Playbills, the whole venue seemed an odd choice. Having said that, if there WAS a Broadway show to play in that space, Rent is probably the best candidate for that, with its stripped-down unit set and warts-and-all style of presentation.

As far as the actual show goes, it was (generally) well performed, and the energy emanating from the show was instantly infectious; from the moment the band launched into the title song, to the last notes of the finale, the cast brought an energy and passion that was palpable. Some notable standouts were Collins (Aaron Harrington), Joanne (Jasmine Easler), Angel (Aaron Alcaraz), and Mimi (Skyler Volpe).

My opinion of Mimi is an interesting one, because by all accounts, I shouldn’t have enjoyed her performance. Acting-wise, I thought she was fantastic, but vocally, there were many moments that seemed weak or off-key. While normally this would be disappointing, the nature of Rent calls for raw, emotional vocals that connect with the character. Volpe, as Mimi, imbued her character with a desperation and passion that made me forget, or at least overlook, the flaws in her vocals. In short, the weak vocals actually worked for her portrayal.

Sammy Ferber, Marcus John, and Kaleb Wells in the 20th Anniversary Tour of Rent

Not that that worked for everyone. Kaleb Wells, as Roger, was a disappointment in our production. Vocally, he could hit the notes, but his interpretation of Roger seemed off. Don’t get me wrong, I’m a firm believer and supporter in artistic expression and interpretation; Wells should have the freedom to express his character as he sees fit. However, his choices here seem wrong. Instead of brooding and tormented, his Roger came across as whiny and petulant. These choices made it very hard to root for Roger, which is one of the main goals of the show.

One final thing about our production, that isn’t really a criticism, is that the five-man band, while extremely talented, made me miss the more lush sounds of the 2005 film version (one of that version’s only redeeming qualities). I know the stage band is identical to the Broadway accompaniment, but once you’ve heard how full the music CAN be, it makes it hard to go back.

I want to end this review with a more positive, personal note. Despite opening in 1996, I didn’t hear the score until 2000, when I was able to purchase the original Broadway cast album. The show marked a turning point for me, a young high schooler who was coming to terms with his sexuality. Here was a show unlike anything I’d ever heard, which featured multiple homosexual characters, who were accepted by their heterosexual friends; indeed, the fact that they were gay was the least interesting thing about them. It was, like it was to Broadway, a major milestone for me on my path to where I am today. So while it hasn’t (yet) quite stood up to the test of time, Rent is still a moving, powerful piece of theater, that has the rare ability to unite its viewers under its simple yet profound message: No Day But Today.

Thank you, Jonathan Larson.

FINAL GRADE: B+