'Rent' seizes the '90s decade
2002-04-04
Every generation or two, a new musical comes along that unequivocally defines a particular era. As a chronicle of the 1950s, "Grease" was the word; the irreverence of the '70s was vividly captured in "Hair," while the '90s will forever be remembered as the decade of "Rent."
Like its predecessors, "Rent" appears destined to have a lengthy run (it celebrates its sixth anniversary on Broadway later this month). And yet, a long run isn't always the best predictor of quality, as "Oh, Calcutta!" and "Jekyll & Hyde" clearly proved.
After seeing "Rent" at its Civic Center Music Hall opening Tuesday, one is tempted to play the "What if?" game. Would the show's flaws have been fixed had author Jonathan Larson lived to see his musical through its tryout period?
Would the often-banal lyrics be sharpened? Would the show's emotional arc be better realized? Would Michael Greif's direction be quite so aimless?
Larson often spoke of wanting to write a musical for the MTV generation, and to that end he succeeded. "Rent" has a raw, edgy quality that suits its characters, a group of modern-day bohemians forced to deal with AIDS, drug abuse and poverty in a society that often misunderstands them.
The show has its roots in rock music, a style that hasn't often found acceptance in the musical theater. Yet that's also the reason it has managed to reach a much younger, non- theatergoing audience.
Few of the cast's voices are in any way distinctive, but they muster an abundance of energy that gives the show a kinetic quality associated with today's popular music videos.
Blake Burba's unconventional lighting design also thrusts its characters into the shadows too often, and the show's considerable amplification tends to render lyrics unintelligible much of the time.
Sharing more or less equally in Larson's tale are Kevin Spencer as the aspiring songwriter Roger, David Oliver Cohen as narrator and filmmaker Mark, Bruce Wilson Jr. as the philosophizing Tom and Matthew S. Morgan as the landlord Ben.
Also, Bridget Anne Mohammed as a lesbian lawyer, Justin Rodriguez as the transvestite Angel, Krystal L. Washington as the drug-dependent Mimi and Clark Mims as the quirky performance artist Maureen. Oklahoma City native Jordan Ballard will take over the role of Maureen beginning Friday.
Giacomo Puccini would probably have difficulty believing that "Rent" is a contemporary retelling of his opera "La Boheme." While the latter ends with Mimi's death, "Rent" inexplicably brings her back to life.
And yet, opera and musical share a similar message: Life is precious, and we should live each day to its fullest. That sentiment echoes strongly throughout "Rent," and if the medium that conveys it does so in a way that appeals to a younger audience, so much the better.
Larson's unfortunate death at age 35 will forever be associated with the show's tentative beginnings, leading some to suspect the musical was overpraised as a result. Time will tell whether "Rent" turns out to be just a footnote in the musical theater's annals or the masterpiece some have hailed it to be.
Yet while everyone may not identify with the bohemian characters found in "Rent," who among us wouldn't benefit from embracing the age-old philosophy of "Carpe diem!" Or, to put it in the language of Jonathan Larson's characters, there's "no day but today."
"Rent" continues through Sunday. For those willing to show up two hours before curtain, $20 rush tickets will be drawn for the 28 available seats.
-- Rick Rogers