TOM TITUS -- Theater Review
After two years, the “Rent” has come due again at the Orange County
Performing Arts Center -- and if you thought the Jonathan Larson musical
about struggling street artists was strident and in your face in 1998,
take a look at the current touring production.
“Rent,” which celebrates the bohemian lifestyle (it was, after all,
based on Puccini’s opera “La Boheme”) among artistic and penniless
members of Generation X, is not a pretty sight. Several of its denizens
are HIV-positive, and few appear capable of settling into a committed
relationship.
It is this innate restlessness, set to a savagely rhythmic beat, that
drives the production and provides its visceral emotional power. There is
no tomorrow for many of these street people, and they are determined to
make the best of today.
However, when music and drama are elevated to a fever pitch, something
has to give, and more often than not it is clarity.Inarticulate
presentation marred the show’s impact two years ago, and it remains the
case with the current incarnation.
While there is little doubt of the singers’ intent, the end result
would be far more enjoyable had the company heeded Hamlet’s advice and
rendered the speech trippingly off the tongue. Perhaps an elevated,
screened libretto, opera-style, would remedy the situation, even if it
detracted from the visual effect.
Despite the title, and the central issue of financing the principals’
residence in an abandoned loft in a seedy section of Manhattan, rent is
not the central theme of “Rent.” The bogus issue of wherewithal is
conveniently brushed aside to focus on the relationships -- one
heterosexual, two homosexual -- which comprise the core of the show.
Roger (Cary Shields) and his newfound love Mimi (Dominique Roy) have
something in common -- the HIV virus. So do Collins (Mark Richard Ford)
and the drag queen Angel, whose commitment to one another is total,
unlike Roger and Mimi or the lesbian duo of Maureen (Maggie Benjamin) and
Joanne (Jacqueline B. Arnold).
These couples are in love and war, simultaneously, for the flimsiest
of excuses. Chronicling all this trauma for posterity with his
ever-present video camera is Mark (Matt Caplan), who has lost Maureen to
Joanne and serves as the audience’s rather intense link to the action.
Brian M. Love contributes a strong presence as Benny, the former buddy
who’s married into money and now owns the building.
Musical highlights abound. Most memorable are the “Tango: Maureen”
duet between Maureen’s past and present lovers (Caplan and Arnold) and
Benjamin’s presentation number, “Over the Moon,” intentionally
pretentious and tacky. Benjamin and Arnold tangle wonderfully in the
strident “Take Me or Leave Me” confrontation that punctuates the second
act.
Roy’s electric energy reaches megawatt voltage in her “Out Tonight”
solo as she tempts and taunts Shields. Caplan endeavors to put his hollow
life into perspective in his “Halloween” number, and his clash with
Shields over their respective lifestyles strikes some incendiary dramatic
sparks. Behind the show’s often artificial confrontational tone, there
are some tender and heart-rending moments and a touch of comedy to
provide needed balance. The concerned parents check in by phone
periodically to offer lifestyle contrast in the “Voice Mail” segments.
There is much in “Rent” that justifies its Pulitzer Prize and Tony
Award. Certainly the ensemble numbers (“La Vie Boheme,” “Seasons of
Love”) reverberate off the senses and involve the audience superbly. In
these moments, the often-incoherent lyrics are inconsequential.
Devoted Rentheads may snag first- and second-row tickets for $20 two
hours before curtain, but they’d best hurry -- only four more
performances remain before the lease is up.
* TOM TITUS reviews local theater for the Daily Pilot. His reviews
appear Thursdays and Saturdays.
FYI
WHAT: “Rent”
WHERE: Orange County Performing Arts Center, 600 Town Center Drive,
Costa Mesa
WHEN: Closing performances 2 and 8 p.m. today, 2 and 7:30 Sunday
COST: $22-$53.50
PHONE: (714) 556-2746
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