Like many theater people, I have a special place in my heart for RENT. Despite my inner cynic, the opening chords of "One Song Glory" can bring tears to my eyes in an instant. I know all the lyrics and, when I hear them, I’m instantly transported back to high school, when I first saw and fell in love with the show. As a teenager, the youthful rebellion it projects seemed to be giving voice to my own confusion.
Now, coming to New Rep’s version as a 25-year old working adult, I was surprised to find myself less invested in the journeys of these characters - to find myself questioning their economic situation and their dedication to the abstract idea of being an “artist”. Still, Jonathan Larsen's final work presents some concrete, lovable characters; and while there are soap opera moments, there are moments of truth that continue to resonate.
Under Benjamin Evett's direction, New Rep’s RENT provides much to be admired. Chiefly, I admired Nick Sulfaro's performance as Angel, the transvestite whom we first meet busking on the streets of Manhattan. As the only character who seems to lack flaws, Angel can be hard to make into a whole person; here, I felt that I knew Angel and I loved her, and the credit goes to Sulfaro’s full-bodied performance.
John Ambrosino's Mark also stands out. As the narrator, Mark is not given a whole lot to work with; we never get to know him and he doesn't really have a point of view of his own. However, as a performer, Ambrosino stands out: he was always on - on key, on point, exactly where he needed to be. I believed him as Mark, the detached filmmaker, and I loved watching him.
Robert St. Laurence, as Roger, was not as strong on opening night. In that performance he seemed nervous, and he was never able to fully embody his character. While he is clearly very talented and has a beautiful and resonant voice, he didn’t quite seem comfortable on stage and in Roger’s skin.
Evett makes a number of choices to distinguish his version of RENT. Perhaps the most daring is his use of full nudity towards the end of the show. Unfortunately, this choice serves to divert attention from the agony of the moment, and I wished the clothes had remained on and the audience had been allowed to experience grief without distraction.
Overall, this production is just RENT - it does not stray too far from the original formula, and therefore embodies all of the flaws and strengths inherent in the piece. It is often corny (it charts the course of a year in holidays, starting with Christmas Eve and moving through New Years, Halloween, etc) and melodramatic (someone comes near death and then returns having seen a tunnel of light), but still manages to soar above those calculated moments and touch something real. These characters seem to be suffering greatly without any real explanation (many have seemingly well-off parents who turn up in funny voicemail messages), and yet they make us believe that their struggle for their art and for love is not just worthwhile, but valiant.
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