by Paula Kaplan-Reiss
The unexpected tragic death of playwright, Jonathan Larson before Rent’s Off-Broadway opening in 1996 shattered the cast and the Broadway community. I remember viewing the musical through this lens when I last saw this Pulitzer Prize and Tony Award winning production in New York City. Twenty-eight years later, I realize how much I have forgotten and the incredible talent we lost as I view the dynamic young cast at the Mac-Haydn Theatre under the direction of Director and Choreographer John Saunders.
Rent follows a group of young friends in the East Village in the late 80’s and early 90’s struggling with poverty, drug abuse, relationships and the HIV/AIDS crisis. Loosely based on Puccini’s opera, La Boheme, we see a contemporary take on the social and health issues of this creative community.
Mark Cohen (Andrew Burton Kelley), a film maker, who lost his girlfriend to another woman, and Roger Davis (Jared Goodwin), an aspiring song writer, share an apartment with a year’s back rent and no electricity during a freezing winter. Their singing is dynamite. We are immediately treated to the 17-member cast entering the thrust stage singing the rousing opening number, “Rent.” This rag-tag group with fabulous voices sets the tone of the musical and excites the audience for what is to follow.
Next, we see Tom Collins (Marcus A. Jordan), a gay computer genius, anarchist and teacher who soon falls in love with Angel (Anthony Michael Valez), a drag queen. Both are HIV positive and know that life is uncertain, yet bravely celebrate their relationship. Jordan’s baritone voice resonates as the stand-out in this production. Valez is infectious in his portrayal, with outstanding dance skills.
Mimi (Ana Viveros), a dancer at a strip club and an HIV positive heroin addict falls for Roger, who is in recovery and struggles to commit to her. “Light My Candle” is Mimi’s ultimate song of seduction, and yet betrays her addiction. Roger is desperate for her to give up drugs. Viveros is stronger singing in a softer sweet tone than in belting out the bigger numbers. Her healthy look, energy and strong dancing, however, make it difficult for her to be convincing as an addict and an AIDS victim.
Maureen (Adeline Trivers), Mark’s ex and Joanne’s (Amber Mawande-Spytek) current girlfriend, works as a performance artist, engaging the audience while bringing down the house singing “Over the Moon.” Also filled with sarcasm and drama are Mark and Joanne, commiserating while singing and dancing, “Tango: Maureen.” Maureen is not an easy partner. But she fights for the right to stay in her apartment, and Trivers highlights her spunky and flirtatious personality.
Especially poignant are the scenes depicting the AIDS support group. Memories of this plague of the late 80s and early 90s are brought back with “Life Support.” I remember so many young people were dying. And, ironically, Larson died young, but not of AIDS. We watch this group of performers, so incredibly talented and seemingly close, with palpable chemistry. We see them very much alive. But we know they are depicting a population at risk of dying. We worry for Angel and Tom Collins and Mimi.
Worth noting are the rich voices of Belle Babcock, Cydney Gleckner and Emily Allen, who respectively play Mark’s Mom, Roger’s Mom and Alexi Darling, a station manager who wants to hire Mark as a film maker. Their performances, portrayed in phone calls to answering machines, are clear, sarcastic and intrusive, perfect for each part.
Director Saunders must have had a difficult time casting this show. Every cast member has the passion, voice and dance skills to be a lead. “Seasons of Love,” the most memorable song from this show, is performed facing stage right on the thrust stage. Unfortunately, I was sitting stage left. The entire audience needs to witness this anthem. The thrust stage allows us to feel part of the play with cast members entering and performing in the aisles on all sides of the theater.
Music Director, Eric Shorey leads a five-piece band performing off stage with the speaker onstage and perfectly in-sync with Roger’s ‘playing’ guitar. Familiar with all of Larson’s music from Rent, every song strikes a different emotional chord.
Scenic Designer, Alivia Cross, shows a spare stage, fire escape and various flyers advertising local performances, effectively depicting a deteriorating part of the East Village.
Lighting Designer, Andrew Gmoser, at times, makes use of fog from the lights diffusing the set. I find this technique can be distracting. In general, we see the lights of the gritty nightlife and the performers well lit.
The death and near-death we witness in Rent, the intense relationships formed, and the struggles experienced are powerfully presented on the Mac-Haydn stage. I can only imagine the musicals Larson would have created had he lived. Don’t miss your chance to see this iconic musical. As the cast sings Larson’s prophetic words, we are reminded, “There’s No Day but Today.”
The Mac-Haydn Theatre presents Jonathan Larson’s “RENT” directed and choreographed by John Saunders, from July 18-28, 2024. CAST: Jared Goodwin as Roger Davis; Andrew Burton Kelley as Mark Cohen; Anthony Velez as Angel Dumont Schunard; Josh Walker as Benjamin “Benny” Coffin III; Marcus Jordan as Tom Collins; Ana Viveros as Mimi Marquez; Amber Mawande-Spytek as Joanne Jefferson; Adeline Trivers as Maureen Johnson. ENSEMBLE: Belle Babcock, Cece Morin, Cydney Gleckner, Ariellys Reynoso, Emily Allen, Taye Martin, Griffin Wilkins, Jake Koch, and Fernando Flores.
CREATIVE TEAM: Associate Director/Choreographer Elizabeth McGuire; Music Director Eric Shorey; Assistant Music Director Matt Levinstein; Scenic Designer Alivia Cross; Costume Designer Bethany Marx; Lighting Designer Andrew Gmoser; Sound Designer Sean McGinley; Props Designer Clay Cates; Wig & Makeup Designer Emily Allen.
Please be advised that “Rent” contains strong language, and themes relating to drug use, addiction, illness, suicide and suggestive content. The Mac-Haydn Theatre does not recommend “Rent” for audience members younger than 13.
For tickets and information, please visit www.machaydntheatre.org or call the box office at (518) 392-9292.