Seats in Columbia’s Courtyard Theatre were packed for the opening night of the School of Theatre and Dance production of “Rent.” The anticipation and excitement from the line outside the doors were rewarded. “Rent” delivers an amazing experience about passion and survival. Despite some technical issues, the show is full of optimization, chemistry and, most importantly, great performances.
Directed by Daryl D. Brooks (“Sunday In The Park With George,”) the production of “Rent” is adapted from the Broadway musical of the same name, with the book, music and lyrics by the late Jonathan Larson.
In the most brilliant way, “Rent” proves that the stage does not make the show; rather it is the show that owns the stage. Two sets of stairs, a catwalk and a brick wall with window panels are all that was needed to create locations that shouldn’t work but work so well. From an apartment to a restaurant to the Lower East Side of New York City, “Rent” has a set design that saw no limits.
Aside from the build, another element that made the set work so well is the lighting design. The gradual light transitions in each music number are as graceful as they could have been. Right out of the gate, the opening number “Rent” begins with comforting light, nothing too flashy. But by the final verse, there are flashing lights coming from above, below, near and far. It’s chaotic. It’s a frenzy of color. And it captures the beautiful business of this set.
Larson’s story of struggling artistry in Bohemian NYC comes alive in the “Rent” cast. In Mimi (portrayed by Addie Reynoso, a sophomore musical theatre performance major), there’s the desire to live in the now and tell tomorrow to screw off. In Mark (portrayed by Jonathan Webster, senior theatre design and technology major), there is the urge to tell the stories of others, despite not knowing one’s own. The cast’s emotional control does not waver for a beat, while the line delivery displays a deep level of ownership over characters. Every time Collins (portrayed by Mark Bonney, a first-year musical theatre major) grabs a hold of his coat and chokes on his tears, you might feel that lump in your throat get harder and harder to swallow. Intentional or raw, it is outstanding work.
The chemistry between the cast is very special. They grab a hold and never let go. Talk about maximizing the space, the musical number “Light My Candle” is phenomenal. The movement between Mimi and Roger (portrayed by Thomas Toohill, junior acting major) is constantly in flux. From the catwalk to the couch in Roger and Mark’s apartment, they are tethered. It’s a dance exposing one character’s want for fun, and the other’s need for wholeness.
Roger and Mark have special chemistry through their body language that aids the story. In a way, they complement and combat each other. Mark is very charming and self-assured (on the surface that is.) Webster uses a flamboyant movement to own music numbers such as “Tango Maureen” and “La Vie Boheme.” In contrast, Roger is more stiff and solid with minimal slick blocking, which in turn lets Toohill’s voice shine in “One Song, Glory,” conveying Roger’s complicated emptiness.
So, what happens when you put both these characters in an Alphabet City apartment with no heat or power? Well, you might just get two very distinct characters that mesh very well.
The one disappointment was the issue with sound. There were several times where character voices were not picked up by the mic. This happened in two common occurrences; when two characters were face-to-face, and when a character sang from the catwalk. The first occurrence very well might have been an engineer tactic to avoid feedback, but it came at the cost of losing audio in pivotal scenes.
The sound headscratchers continued with the cast members’ voices being drowned out by the band. This issue popped up more than the microphone problem. Thankfully, the cast projected so well that neither issue harmed the show too much.
Beyond projection, the cast of “Rent” performs touching renditions of Larson’s original songs. And boy does the talent of these performers ooze through the music. On “Goodbye Love,” an underrated gem of the original production, Reynoso does the number justice. When she first takes the stage for “Over the Moon,” Maureen (Harmony Rose Nielsen, sophomore musical theatre major) has the audience in the palm of her hand.
It would be criminal to not acknowledge Bonney’s act I “Santa Fe” and act II’s gut-wrenching “I’ll Cover You (Reprise)” as bonafide show stealers. Bonney summons a smooth and soulful spirit like none other.
“Without You” is the best number of the entire show. From the blue and gold coloring amidst the low-key lighting, to the blocking of the principal cast. It is an emotional rollercoaster that Reynoso and Toohill take the audience on is nothing short of real. A few short minutes of reflecting on how the earth continues to turn, but life pauses when love is lost. Wow, who is cutting onions?!
But the absolute show-stealers are the ensemble. Transitions between scenes have never felt so major and must-watch. Junior musical theatre performance major Lillian Sophia Urresti’s voice in act II’s opener, “Seasons of Love,” is so strong it will give you goosebumps. Although very minor, sophomore musical theatre major Sarah Driessen’s portrayal of Alexi Darling is a comedic hit every time the spotlight hits her. The ensemble really shines as everyday New Yorkers, cops, support group members and family members to the main players. There is a reason they are principal cast members along with Roger, Mark and company. They create so much feeling in a short amount of time.
When it comes down to it, “Rent” is infectious with performances and uses of space that immerse the audience into what lies in the moment. Not next week. Not tomorrow. No day, but today.
“Rent” runs through May 10 in the Courtyard Theatre at the Getz Theatre Center at 72 E. 11th St in the South Loop.
Copy edited by Matt Brady
