RENT’S APPEAL IS AGELESS
Anniversary show now in Canada
When Rent debuted on Broadway in 1996, it caused a stir of controversy for bringing topics like sex, drugs, poverty and living with HIV to a mainstream stage, even though it was wrapped up in the joyous spirit of a rock opera.
Of course, it turned out that audiences appreciated the fresh perspective and youthful energy, and it became an unqualified hit, earning a slew of awards, including a Pulitzer, and drawing a new generation to musical theatre. It ran on Broadway for 12 years, making it one of the longest-running shows in the history of the strip.
Now the 20th-anniversary edition of the production is finally making it to Canada, 23 years after its debut, courtesy of the folks at Broadway Across Canada, and we have a chance to see how it’s aged.
Is Rent still relevant in 2019? In a word, absolutely. The problems of gentrification, homelessness, income insecurity for artists and the struggles of non-binary people of colour have not disappeared. AIDS has not been cured, and there are still heartless landlords. Don’t be deceived by the frenetic, colourful and loud production; these remain the issues at the heart of Rent.
Originally envisioned as a retelling of the Puccini opera, La Bohème, and its tale of struggling bohemians, the music, book and lyrics to Rent were written by Jonathan Larson. Tragically, he suffered an aortic dissection and died suddenly at 35 the morning of the show’s off-Broadway premiere, never getting to experience the show’s remarkable success.
Set in a warehouse-turned-flophouse in Lower Manhattan’s East Village, this American touring production sizzles, featuring a young, athletic and diverse cast, most with enough power in their vocals to send the notes bouncing off the rafters. However, I found the sound was a bit muddy on opening night, making it hard to follow each character’s lines if they weren’t part of a big musical number.
The plot centres on roommates Mark and Roger, who find out that another former roommate, Benny, has bought their building. He wants to evict everyone and convert it into a high-tech cyberarts studio. Mark’s former lover, Maureen, stages a one-woman performance-art protest (in one of the show’s funniest moments), a riot erupts and the squatters are locked out. All of this is happening over the course of one year; at
the same time, various romantic entanglements are playing out.
In addition to the delightfully loopy protest by feisty Maureen (played by Kelsee Sweigard), highlights also included the dragqueen character of Angel (gleefully played by Joshua Tavares) and exotic dancer/junkie Mimi (Aiyana Smash), whose magnetic sass steals every scene she’s in.
The costumes are terrific, too, capturing the vibe of the ’90s in wide-leg raver pants and generous use of brightly coloured spandex. Another standout element is the inventive choreography, which encompasses flips, leaps, a tango duet and one seductive routine performed by Mimi on a railing above the stage. There’s also a brief flash of nudity at one point.
In the end, the show conveys an irresistible message to live for the moment, love the one you’re with and stick up for your tribe as you’re following your dream.
That’s the stuff that makes it an enduring Broadway classic. lsaxberg@postmedia.com