Rent: 20th
Anniversary Tour
Jonathan Larson (Book, Music & Lyrics)
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| The Cast of Rent: 20th Anniversary Tour |
Twenty years ago, onto a Broadway stage burst a sexy,
soaring musical daring to give unforgettable faces and personalities to seven
artists struggling to survive not only their East Village poverty, but also the
plague of AIDS/HIV that appeared ready to wipe out an entire generation.
Two decades later,
Rent is no less relevant and timely than when it won multiple Tonys
in 1996 (including Best Musical), as witnessed by the stunningly superb,
heart-warming, and heart-breaking production now on tour at SHN Golden
Gate.
The characters and their stories
that are largely based on Puccini’s 1896 opera
La bohème still bring both laughter and tears in great quantity as
they did in ’96; but in early 2017, the musical seems particularly apropos once
again.
Lines like “How do you document real life when real life is
getting more like fiction each day?” sound sadly too current. Scenes of ignored homeless on dirty,
drug-laden streets mirror the scene outside the doors of the Golden Gate
Theatre in the surrounding Tenderloin neighborhood. And the threat of young artists losing their
funky, warehouse abode is right off the headlines of today’s San Francisco Chronicle. The timing for this revival tour could
not be more eerily perfect with its message that transcending all these very
real and troubling issues is the power of unconditional love for all -- no
matter gender preference, race, sexual orientation, economic status, or even if
dying from a society’s most shunned disease.
Not only was the dark subject matter of drug-using and
hungry street people along with the subject of AIDS and its effects on New
York’s artistic community startlingly bold when Rent premiered, other new ground was broken for the American
Musical at the time. Its rock opera
approach introduced numbers sounding much like recitatives, arias, duets, and
grand chorus numbers of Puccini’s original but done with electronic pulses and
pounding beats that introduced a new generation to classical themes in a way
that they could hear and understand. The
result in 2017 are musical numbers that have entered the Great American
Songbook as classics and can be hummed and sung in well-know phrases by a
generation that may or may not have even seen the original production in its
twelve-year run on Broadway or all its tours.
“Seasons of Love,” “Another Day,” “La Vie Bohème,” and “Take Me or Leave
Me” (among many others) and the ubiquitous “five hundred twenty-five thousand,
six hundred minutes” are now etched into our collective psyche forever.
Rent: 20th
Anniversary Tour takes the original and updates it with neon-hued energy,
freshness, and contemporary feel that zings and snaps from beginning to
end. Evan Ensign directs this large and
talented cast with an eye to pushing those original, daring boundaries even
further to edges that are raw, painful, and yet utterly beautiful. The set of Paul Clay is massive in scope with
its multiple and climbing levels of twisted metal and stairs against the Golden
Gate’s back brick wall. The lighting of
Jonathan Spencer provides hints of Christmas against the dark dreariness of
poverty and illness while offering looming, gigantic shadows that hint of the
threats of abandonment, eviction, and death.
Angela Wendt’s costumes sparkle, shock, and satisfy all at the same
time, bringing this old story a new look of today’s starving in the streets and
hungry in the studios.
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| Danny Harris Kornfield & Kaleb Wells |
With his camera ever in hand, aspiring documentarian Mark
sets out to record a year in the life of his current and former artistic
roomies and their lovers and friends.
Danny
Harris Kornfield is joined by a stage full of his cohorts climbing, jumping,
kicking, and literally flying in all directions while urging him on in “Rent,”
singing in loud, rambunctious voices multiple protests of their plights: “We’re
not gonna pay last year’s rent, this year’s rent, next year’s rent ... ‘Cause
everything is rent.”
Mark is still getting over his break-up with his old roomie
and lover, Maureen, whose new girlfriend is Joanne (Jasmine Easler). The two
rivals discover a surprising symbiosis of their common ills with the cheating,
but highly seductive “diva”as they dance and sing with dramatic flair in “Tango
Maureen.” The focus of their past and
present love is arranging a Christmas Eve benefit show to protest eviction of
the homeless from a vacant lot where another former roomie, Benny (Christian
Thompson) wants to put up a new studio for artists.
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| Jasmine Easler & Katie Lamark |
The over-powering personality and attractive dynamism of
Maureen eventually splashes in full body gyrations and over-the-top poses as
Katie Lamark comes close to bringing the audience to its feet in her avant-garde
rendition of the child’s rhyme, “Hey Diddle Diddle” in her performance of “Over
the Moon.”
As the year progresses and
her relationship with Joanne begins to look like a yo-yo as they habitually attract
and repel each other, the two electrify the entire auditorium with their
sexual, sensual, and entirely sensational, “Take Me or Leave Me.”
In doing so, they also provide a key theme
and message of
Rent, “Take me for
what I am, for what I was meant to be.”
 |
| Kaleb Wells |
Other pairs of lovers are equally impressive in the story’s
telling.
Mark’s roommate, Roger, who is
depressed about his HIV and a girlfriend’s recent suicide, strums repeatedly a
few chords on his guitar in “One Song Glory” as Kaleb Wells introduces us to
his captivating, soul-stirring voice while he searches for “one song before
this virus takes hold ... one song to redeem this empty life.”
Into his life comes a erotic dancer of seedy nightclubs,
Mimi, shivering in the heatless, dark warehouse where they are both seeking
refuge.
Mimi seeks a match to “Light My
Candle” as well as Roger’s warm body for comfort.
With a voice that mixes teasing seduction,
tongue-in-cheek humor, and starving desperation into one bundle of stellar
performance, Skyler Volpe fails to win Roger this time; but she is not one to
give up.
Her drive is fully witnessed as
we see her dressed in skin-tight blue in a cheap club scene singing “Out
Tonight” in a voice meant for Vegas while dancing as if making love to the
balcony’s bars in front of her.
 |
| Skyler Volpe |
The two will struggle to find their relationship equilibrium
and will deliver some of the evening’s more heart-piercing, deeply emotional,
and truth-telling numbers – ones like “Another Day” and “Without You” that are
now iconic among the musical’s fans.
Each singer performs with a genuineness that reaches to the farthest,
back seat in the balcony.
Kaleb Wells in
particular brings rock-star quality time and again to his singing and probably
has the best voice in a cast where every person is a winner in song.
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| David Merino & Aaron Harrington |
A cross-dressing street drummer -- racked by AIDS and hunger
-- finds an injured, mugged philosophy teacher on the street named Tom Collins,
a friend of Mark’s and Roger’s.
There is
immediate attraction between the giant of an African American man more teddy
than grizzly in his huge form and the undersized, dangerously thin drag queen
performer, Angel (David Merino).
The story of their love
and devotion is at the core of
Rent’s
emotional pull on its audience.
Aaron
Harrington’s voice flows deep like a river as he describes his dream of going
to “Santa Fe” to Angel and his friends, leading the two of them to soar in one
of the musical’s best love songs, “I’ll Cover You,” in which Angel sings, “Live
in my house, I’ll be your shelter” and Tom replies, “Open your door, I’ll be
your tenant.”
Angel’s glittering red
lips and outlandish elf attire and Tom’s look of lumberjack cement into a tender
love to inspire even the hardest of hearts.
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| The Cast in "La Vie Bohème" |
To balance the gripping moments of personal, romantic, and
social-issues drama threading throughout
Rent
are small and big numbers often full of humor and winks to the audience.
Homeless gather to sing about Christmas
coming, always ending with a funny, but cynical remark comparing the world’s celebrating
to their street-bound non-party.
Nasal-sounding parents with aristocratic airs leave phone messages from
far-away resorts to their almost-homeless and rebelling kids.
But it is when the whole cast executes with
full gusto the gymnastic choreography of Marlies Yearby that fireworks truly
happen.
The Last Supper imitation of
twelve friends gathered in a café after Maureen’s concert on Christmas Eve is a
fabulously produced rock number (“La Vie Bohème”) with its hilariously and precisely
coordinated movements of necks, shoulders, fingers, heads, hips, and abdomens along
with a dozen bodies gyrating in chairs, on and under the table, and over the entire
floor.
Tomes more could be written to praise more individual and
collective performances, other parts of the brilliant script and sets of
lyrics, and all of the still-memorable music of this current Rent.
Needless to say, twenty years have only made this then-hit a once again
must-see. Nothing is stale in its telling
or its message. Like a good wine, Rent has aged even closer to perfection.
Rating: 5 E
Rent: 20th
Anniversary Tour continues through February 19, 2017 at SHN’s Golden Gate
Theatre, 1 Taylor Street, San Francisco.
Tickets are available at
Tickets
are available at https://www.shnsf.com.
Photo Credits: Carol Rosegg
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