RENT

Book, Music, and Lyrics by Jonathan Larson

Directed by Brian Dungjen

Reviewed by Wayne Erreca

19^th Century Italian Composer Giacomo Puccini would have been flattered had he known his magnificent tragic opera storyline would later appear, 100 years to the day, within the revised version of Composer Jonathan Larson’s dynamic RENT at New York’s Nederlander Theatre on Broadway. As if artistic tragedy gives birth to bedlam within the life we deem reality, shortly after RENT’s final dress preview on January 24, 1996, Larson succumbed to an aortic aneurysm, being denied the immense satisfaction of enjoying his successful opening the following night . RENT explosively energized excitement throughout the generation of its day, which led to receiving the Pulitzer Prize for Drama, Obie Award, New York Drama Critics Circle Award, and Tony Award for Best Musical. It stands on its own merits as the eighth longest-running production in the history of Broadway .

Like Puccini, Composer Jonathan Larson dedicated his creative prowess to showcasing societies starving artistic Bohemian musicians, dancers, writers, and outcast visionaries. He assembles his often labeled drudge of humanity within New York’s East Village who are overshadowed by the dreadful terror of AIDS, instead of Puccini’s horrifying plague of tuberculosis. Like La Bohème, it consists of multiple rapidly-paced musical scenes, weaving a mélange tapestry of drug abuse, agoraphobia, transvestism, and greedy, coldhearted slumlords. Most importantly, it conveys the raw truth, that even the scourge of the populace share the same dreams of love and pursuit of happiness as everyone. Without question, various critics may profess the devastation of these characters is of their own doing. A likely derelict response similar to one regarding the current terrible misfortune of Haiti’s disastrous earthquake. “They made a pact with the devil, therefore, they’re the one’s to blame.” Larson conveyed to his fellow Playwright Billy Aronson that RENT also means to be ’torn apart’. It’s a marvelous musical that lifts forgiveness far above condemnation and celebrates the human spirit light years from the suffocation of uncaring intolerance.

Director Brian Dungjen has achieved a Herculean feat by orchestrating his incredibly talented cast and staff, to thrust such a high-octane and emotionally colorful performance on the Old Town Playhouse stage. With over forty musical numbers, twenty actors, and a demanding potpourri of subplots, Dungjen masterfully keeps it tight, energized, and never slacking. Like the waves of an angry sea, Larson’s RENT keeps pounding the shoreline, so as never to be forgotten. Dungjen remains true to Larson’s quest.

From the excellent Ensemble, Jenn Archibald, Christy Gray, Melissa Nerem, Lesley Alicia Tye, Kelly Curtis, Kate Laffin, Chris Peterson, Kevin Weber, Ty Curtis, Riley Leiter, Louis Rodriguez, Derek Woodruff, and the splendid Cast, Joesph Shoup (Roger Davis), Brett Nichols (Mark Cohen), Jonathan Doyle (Tom Collins), Rob Stow (Benjamin Coffin III), Shakyra Eady (Joanne Jefferson), Tom Cilluffo (Angel Dumont Schnard), Jamaica Lynne Weston (Mimi Marquez), and Ashleigh Hanchett (Maureen Johnson), each actor wonderfully fulfills the true definition of what an ensemble is meant to be. They perform unselfishly with a consistent passion that sets the stage ablaze.

As in most productions, certain roles are standouts, either by having the good fortune of singing the best of songs, or delivering the funniest lines. Ashleigh Hanchett as the free-spirited Maureen stopped the show before the end of Act One in Over the Moon. She’s bright, energetic, and hilarious! A combined and entertaining threesome! Jonathan Doyle, playing the endearing Tom, boyfriend of Angel, shines and moves the audience with his soulful rendering of I’ll Cover You - Reprise. Doyle is believable, solid, and descriptive with every syllable and gesture. Jamaica Lynn Weston is the rambunctious Mimi, who is tantalizingly exquisite with every gyration and heart-wrenchingly effective when singing Without You. Once I see Weston pulling the house down in a straight drama, she’ll forever have the distinction as a triple-threat! Last, but never forgotten, is Tom Cilluffo’s remarkable characterization of Angel, the transvestite with a heart-of-gold. This young man has a voice only one born to sing is allowed to possess. His spot-on singing and dancing during Today For You brought the house down. His ever clear pronunciation, whether speaking or singing, never brings question to his every meaning. Cilluffo dishes up the sterling performance of the night.

Producer Tracey Towner deserves a tremendous congratulations for pulling all the important elements together and helping Dungjen to appear marvelous (which he is).

The Choreography team, consisting of Niky Girard, Kristina Nichols, and Sherry White are responsible for how musical productions move on stage. Without these multi-talented women, Dungjen‘s hair, would most probably have gone entirely grey by its opening.

A director’s best friends while staging musicals is definitely the choreographers! Bravo!

Music Director (Keyboard 2) Tony Bero and his band, Michael Root (Keyboard), Michael Hunter and Michael Racine (Guitar), Jeremiah Johnson (Bass), and Cris Pico (Drums) kept the production moving and with the right beat. Set Design by Brian Dundjen and Joseph Shoup is terrific! Vocal Director Matt Archibald did a wonderful job keeping the voices clear over forty-plus songs. Costumes by Kathy Verstraete, Bradley Roswell, and Becca Walton captures the inner-city haunts of New York’s East Village, Lighting Design by Robert Kline offers the right nuances throughout. Sound Design by Stu Dana was a major support. Hair and Make-Up by Alex Billette-Curtis created the right visual. Also credited for a successful production is: Scott Bufe (Assistant Director), Estey DeMerchant (Factotum), Michael Blashill (Production Consultant), Paddy Brown (Stage Manager). Morgan Maul-Smith (Assistant Stage manager). Joseph Shoup, Al Thompson, Jeff Kroeger, and Lori Wheldon (Set Construction). Bonnie Deigh, Maria Mckane, Carolyn McKellar, Mike Nunn, and Katie Wibby (Spotlights). Cinder Conlon (Light Operator). Elizabeth Stewart (Sound Assistant). Becca Walton, Tanya Arens, and Cat Tallman (Props). Jean Mallows (On Book). Paulette Parsons (Rehearsal Pianist). Linda Crandall, Linda Enger, and Jeanne Ramick (House Managers).

RENT may not be everyone’s cup of tea and Larson realized this when furiously writing the lyrics, book, and hundreds of songs over the seven years of its creation. I personally believe his untimely death reminds others that the truth found in his marvelous production is that life is special, and should always be lived to the hilt. That love is most important and shunning others is a senseless extravagance that will eventually bankrupt, instead of helping to flourish. As Larson once mentioned, RENT also means, torn apart, but if we can only free ourselves from bigotries, we may just all one day, be free of rent.