How do you live your life when tomorrow’s not guaranteed? The characters of Rent try to create art, fight the systems of power, and have fun – but in the end, what matters are their connections with each other. Theatre 55’s production of Rent may not be the edgiest or the sexiest version of the show you’ll ever see on stage (there was at least one cut of some racier material), but this production delivers where it matters most, in the sense of connection between the characters on the stage and between the performers and the audience.
One element that helped this was the space; Gremlin Theatre’s
thrust stage and steep seating put the actors and the audience very close to
each other. (Gremlin is in a very cool
spot, sharing a building with a brewery and other businesses; one downside of
this space, though, was that the seating is a little cramped.) But the most essential element in the emotional
impact of this show was the cast. The
characters in Rent are young adults, but it was really compelling to see
their stories told by the older actors of Theatre 55. I don’t
know what each actor brought to this show, but the sense of lived experience brought
an extra element, an extra sense of depth, to this production.
One interesting choice from director Richard Hitchler was the
nonchalant way scene changes were performed; it felt very novel to have actors move
things on and off stage openly, as if it were just a natural part of the scene. The most notable instance was that at the
beginning of the show, items were plugged into a long extension cord, and at
the moment of the blackout, another cast member literally pulled the plug. It was a surprisingly charming detail! Hitchler also had some staging moments I found
very compelling, including a strong back-to-the-audience moment (something I
really enjoy) in “Will I Lose My Dignity” and a performance of “La Vie Boheme”
made especially confrontational by placing Benny front and center. Shirley Mier music directed, played piano,
and conducted the band. I love the rock
and roll aspects of this score; Mier’s band delivered on that driving sound and
had me grooving along in my seat. LaTia
Childers’ choreography made smart use of the ensemble, focusing on formations over
intricate individual movements. In "Light My Candle," the choreography created a saucy second layer to Roger and Mimi's back-and-forth. Another highlight was “Over the Moon,” with its delightfully affected representations of cows and robotic life.
The program didn’t list a set designer, and I suppose that’s
because there wasn’t a set, per se, but I liked the way sound equipment
cases were used to structure the space and serve as furniture. Tom Mays’ lighting was thoroughly engaged in
the story, really interacting with the emotions of the scene and amping up that
emotional impact. The hanging light bulbs
gave a cool industrial vibe to the space even before the show started, and they
were a useful visual tool to differentiate between “power” and “power outage.” Sound Designer Phillip O’Toole did excellent
work in balancing the different vocal parts, letting songs like “Christmas
Bells” build in complexity and layers without losing track of any character’s
part. There were even moments where I
was surprised to hear a new aspect to the song - a musical line I had
never noticed before from other productions or recordings - which is a real treat! I also appreciated the way body mics were
supplemented with standing mics to pick up scattered solo lines. Costume designer Alicia Vegell kept many of
the classic visual elements, like Mark’s scarf and Collins’ hat, while other costumes
were a little toned down from the classic look; Maureen wore pants with leather
accents, for example, rather than full leather pants. The standout costume was definitely Angel’s “Today
4 U” look, which was not one single piece but suggested an outfit that Angel had
taken the time to consciously put together and embellish with big sparkly additions. It was festive and a little camp, and perfect for the character.
As Mark, Jeff Goodson had a great sense of balance; Mark's through-line is more subtle than some of the other characters, but it's essential because it's the audience's way in to the story. Goodson worked beautifully off of the other actors; he was particularly entertaining in songs like "La Vie Boheme," and in "Tango Maureen," where hearing about Joanne's troubles with Maureen gave him a newfound sense of delighted confidence. Gary David Keast brought a nice edge and intensity to Roger; his increasing jealousy felt really grounded in the character's fear and resistance. Keast had a powerful sound in his rock solos, especially the stirring “One Song Glory." Goodson and Keast had a great energy together, and after their Act II isolation, it was very satisfying to watch them reconnect so vibrantly in “America.” Lisa Ramos brought a strong sense of physicality to Mimi; she was loose and suggestive, and realistically unsteady as Mimi got further into her addiction. Ramos and Keast had a lovely chemistry, especially in the lighter moments of “Who Knows” and “Happy New Year."
Rick Kutcher exceled in the role of Tom Collins; he was
light on his feet and his smooth bass sound made for a beguiling and infectious
“Santa Fe.” Kutcher’s rendition of “I’ll
Cover You” was incredibly compelling, starting slow and rich and building to a
powerful emotional climax. Lawrence Hutera
was sweet but self-assured as Angel, and made great use of his vocal range,
dropping deep out of his falsetto for particular emphasis. Together, Kutcher and Hutera were
affectionate and charming. In general,
this cast had a great rapport, coming through in songs like “We’ll See,” where the
actors had a lovely sense of camaraderie.
As Maureen, Bebe Keith had an easy confidence; it's clear from her performance that Maureen relies on her charm and sex appeal to skate through life and that she has a long history of success with that. Brenda Starr was a great foil as Joanne, Maureen’s frustrated girlfriend; she had self-respect – and dignity enough to be a little confused at how she gave up that dignity that for Maureen. Starr’s desperation was very funny in “Tango Maureen,” and she and Keith had a delightful antagonism in “Take Me or Leave Me,” letting the fighting eventually reveal itself as chemistry. Benny’s a tricky character in this show; he’s a jerk for so long and it can be hard to see his motivation to still keep getting involved with the other characters. Brian Driscoll, however, portrayed a Benny that was clearly torn, trying to move on from this stage of life while still missing the friendship with his friends who weren’t moving on with him. Driscoll brought a subtle sense of disconnect and longing that made his reconnection with Mark and Tom late in the show feel satisfying.
The ensemble brought a lot of great individual moments to this show, but for me their greatest impact was in the music; Rent has so many songs that rely on a big swell of power and emotion, and this cast really delivered, especially in moments like the end of “Life Support” and the amazing build in “I’ll Cover You” (Reprise). Throughout the show, the ensemble made strong emotional connections with each other and with the audience.
The main downside to this production is that the theater
didn’t hold a big enough crowd, and so anyone who wants to get tickets now is
out of luck. Theatre 55 has put on a
show with real emotional power (not to mention vibrant design choices and a
great score), and has proven that their unique quality as a theatrical group can
bring a valuable perspective to the stories we tell on stage.
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