PHOTO: Company of "Rent" during the "La Vie Boheme" scene. Photo courtesy of Carol Rosegg — "La Vie Bohème" closes out the first act on a positive and uplifting note. Photo courtesy of Carol Rosegg

REVIEW: ‘Rent’ reminds one they are not alone

By Emily Nichelle Wolfe On Aug 7, 2019 478 0

From Aug. 6 to Aug. 11, audiences at The Hobby Center’s Sarofim Hall are transported to New York City’s East Village on Christmas Eve 1989 as the world of “Rent 20th Anniversary Tour” unfolds.

“Rent” is a rock opera that tells the story of eight New Yorkers as they struggle with relationships, poverty and AIDS. The story focuses on aspiring filmmaker Mark Cohen, played by Cody Jenkins, and his rocker roommate Roger Davis, played by Coleman Cummings. The musical is a not-so-gentle reminder that no matter how isolated people become, they still impact relationships in a way not always visible.

The relationship between Mark, Benny and Roger (from left to right, Logan Marks, Marcus John and Logan Farine) is complicated and requires the audience to understand there was a solid friendship there before Benny got married. Photo courtesy of Carol Rosegg.

The show also stars Shafiq Hicks as Tom Collins, Joshua Tavares as Angel Schunard, Aiyana Smash as Mimi Marquez, Juan Luis Espinal as Benjamin Coffin III, Kelsee Sweigard as Maureen Johnson and Samantha Mbolekwa as Joanne Jefferson. The show is directed by Evan Ensign, choreographed by Marlies Yearby and the musical supervisor is Tim Weil.

“Rent 20th Anniversary Tour” features Jonathan Larson as the writer for the show’s book, music and lyrics. In 1996, Larson died the morning of first Off-Broadway preview performance of “Rent.” He later won a posthumous Pulitzer Prize and three Tony Awards for his work on the musical. His legacy of integrating social issues like addiction, sexuality and inclusivity into musical theatre live on through his work and continues to inspire future musicals.

Cast reminds us even in 2019, Bohemia is not dead

Mark Cohen is one of the best characters in all of Broadway, and Jenkins’ portrayal is flawless. Reminiscent of the original Mark, Anthony Rapp, Jenkins’ strong acting skills and powerful voice is present in every scene he is in. His performances in “La Vie Bohème/I Should Tell You” and “What You Own” cements him as the best part of the cast.

During the first few songs, Cummings seemed like an odd choice for Roger, with his voice edging more towards the theatrical side and away from the rock usually used by Roger. However, during the “One Song Glory,” it becomes obvious Cummings was the right choice as he is able to convey the emotional aspect of the songs without forcing growls or voice breaks. His Roger is natural, smooth and his relationship with Smash’s Mimi is authentic.

Mimi Marquez can be a difficult character to cast, but Smash is a natural fit for the show. She steals the spotlight and her voice is extremely powerful. She’s fun and upbeat and everything Mimi is supposed to be. The audience cheers her on in “Out Tonight” and commiserates with her in “Goodbye, Love.”

PHOTO: Javon King is dressed in festive Christmas garb and clutching handfuls of money. Photo courtesy of Carol Rosegg. — While all of the costumes fit the characters, Angel’s (Javon Kin) costumes went above and beyond and really showcased exactly who the character was and what the character was going through. Photo courtesy of Carol Rosegg.

Hicks, Tavares and Sweigard all have various moments where they steal the show. Hicks’ “I’ll Cover You” (reprise) is heart-wrenching, while his ‘Santa Fe” is confident, smooth and a lot of fun. Tavares’ Angel is the epitome of over-the-top and “Today 4 U” is a pleasant break from the sadness of the world surrounding the characters.

Sweigard’s Maureen is the perfect mix of sass and sex without seeming like overtly fictitious character. Her introductory song “Over the Moon” can come off clunky and unnecessary, but her version is a hilarious few minutes that completely encapsulates the character.

The personality of Benjamin Coffin III is supposed to blend the lines of being effortlessly cool and snobby without being annoying and Espinal just does not hit the mark. In the first act, his Benny is over the top and obnoxious.

However, in the second act, he was able to overcome his faults and pull off a solid performance. Espinal is at his best in “Goodbye, Love.”

Mbolekwa’s Joanne is not bad, but it is not great either. It is a solid performance but does not have any of Joanne’s charisma or excitement. Mbolekwa’s an extremely talented performer, but Joanne does not seem to be the right fit for the actress. The closest she comes to being the Joanne the production needed was during “Tango: Maureen,” but even then she falls flat to Jenkins’ Mark.

Production value increases story’s realness

As soon as the show opens, the entirety of the set is visible, and with the exception of a few chairs and tables, stays the same during the whole show. The show’s choreographer and set designer play with forced perception in order to make the stage seem bigger than it is. During the song “Rent,” Collins is standing a few feet away from Mark and Roger, but the design makes it seem like he’s standing stories below.

PHOTO: Deri’Andra Tucker sits on a stoop during "Out Tonight." Photo courtesy of Carol Rosegg — Mimi Marquez (Deri’Andra Tucker) is bathed in purple light as she sits on a stoop during “Out Tonight.” The shows’ lighting helped audiences figure out what the scenes were really describing. Photo courtesy of Carol Rosegg

Ensign’s direction is killer especially during the opening number, “Tune Up/Voice Mail #1” and “Christmas Bells.” There is never a moment where the show feels messy, but rather the organized chaos it is meant to be. Even though the direction is based on the original Broadway production by Michael Grief, Ensign is still able to put his own spin on it.

Some of the show’s best moments are acted out through song. The fight between Mark and Roger during the show’s climax is genius and proves to be the single best scene in the whole show. During the show’s final moments, the documentary that Mark has been working on plays for the audience to see, but it features footage from rehearsals and allows the audience a generous moment to come down from an emotional high.

For more information on “Rent 20th Anniversary Tour” visit: https://www.rentontour.net/ and for tickets, visit https://www.thehobbycenter.org.