RENT "A review by Chris Johnson and David Hammond"

Having never been to Shadowbox Live before Sunday night, we were unsure what to expect. Luckily, we were pleasantly surprised. Shadowbox is a wonderful example of modern theatre, splicing together the genre of Rock and Roll and the cvlassic feel of a speakeasy cabaret. The theatre boasts an interesting environment, a dimly lit collection of tables, surrounded by a bar, and over the entrance of the theatre, what appears to be a scaffolding and pipework.  Shadowbox earns it name with its black box style stage. One of the most charming aspects of the space here is the way Shadowbox's other business is conducted. The actors also serve as the waitstaff, preparing and serving food, and allowing for a more of a personal connection between the audience and the cast members.
 
The story of "Rent" chronicles a year in the life of a group of young artists struggling to make a living and to make peace with themselves and each other in New York City's East Village in the late 1980's. Regardless of the time period it is set in, "Rent" is proving itself to be timeless, with themes and experiences that still resonate strongly with audiences. The narrative centers around roommates and friends Mark and Roger and their friends (and enemies). While a previous tragedy and the contraction of AIDS has made Roger all but numb to his future, Mark has tried to capture life from a distance through his attempts to make a documentary film. In the year that follows, Mark, Roger and their friends experience love, loss, success and failure, and the ever-present threat of AIDS.
 
"Rent" is nothing without well executed music. The pit being in full view of the audience, which appears to be the norm at Shadowbox, allows the audience to see the musicians rocking out. And they do rock out, noticeably moreso than usual. The score has been adapted, either cut or changed in several key places, and quite a few liberties are taken with the musical arrangements. The effects of this are welcome, however, creating a rawer, purer rock sound. There is a sense of camaraderie and teamwork among the musicians that is refreshing to find in a musical production, where musicians often come together out of necessity rather than a shared passion. At one point early on during the show, a particularly helpful guitarist cheerfully leaned over and turned the page for his keyboardist as the score began. I never saw him do it again, but it made an impression nonetheless.
 
The set for "Rent" is fairly minimal, consisting of a black box environment, a large projector screen that hangs behind the main stage, and a few literal black boxes, designed to be used as various pieces of furniture. The stage appears to be rather versatile. While initially appearing cramped and too small for such an ambitious production, it ultimately afforded more than enough space for both the musicians and the actors and a night of singing and wild dancing. The lone issue we both had with the set was the use of the projector screen, which serves dual roles here. As the show progresses, we are given glimpses on the screen of Mark speaking into his camera, narrating and giving us backstory, presumably for his documentary. The screen is then used to announce the various locales as scenes change. While this is a novel approach, and fitting with the pseudo "concert" version of this show, the story and dialogue make the context of these scenes obvious, the visuals of these location announcements are never striking enough to warrant its continued use, and something is lost when a brilliant screen with words on it shows up after a somber or touching moment. The effect left us wishing that some of the better moments in the show had been allowed a breathe a bit more, and to have more impact.
 
The costumes in "Rent" deviate slightly from the classic renditions of its characters. They tend to be just edgy enough to be visually and thematically interesting, without becoming distracting. A few characters are played safer and more traditionally, and others are experimented with. It is sometimes a bit awkward to see what we'll call "Classic Mark" in his striped sweater and scarf combo, and then see the other lead characters in broader variations of their "accepted" appearances, but it’s also an interesting approach to a classic show. Collins dresses like an intellectual, Maureen's costume is suitably outlandish, and Joanne's is suitably sensible, perhaps even a little repressed, while Mimi's outfits are trendy and tasteful. The chorus costumes are especially excellent, a mix of the homeless and downtrodden, the more casual, and even the wealthy and successful. Even the "skimpier" costumes used during a key dance number were relatively tasteful.
  
A director's work is usually evident in a production of this scale. Shadowbox's production of "Rent" is no exception. The show is approached with a more reserved and respectful approach than is generally seen in musical theatre, modern or otherwise. It is performed without slavish reverence to the original production or the movie, which could have limited what actors were able to do and robbed the audience of a great use of the unique Shadowbox environment. Here, the musical is not limited to simple chorus lines or quick entrances and exits. Though there is some "posing", the production largely consisted of memorable, definitive moments. Steve Guyer, Julie Cline and Amy Lay's stage pictures are not easily forgotten, and several of them are haunting, sticking with you long after the show is over. Choreographer Katy Psenicka creates a number of striking images with group movement, including a bold take on a sequence that even the original Broadway cast could not quite figure out how to make work, that being "Contact". Katy chooses not to put the sexualized dance under a sheet or to hide what is going on. This particular dance/movement sequence is a vital part of the show, as we see the nature of the characters' relationships, along with the consequences of their choices and actions, and sometimes, the relative beauty and horror of what is going on. The lighting for the show was adequate and occasionally explosive, often relying on multicolored or special lighting, which sometimes bordered on overbearing. This appears to have been done to create a particular atmosphere, but there are certain emotional moments when it would be nicer to see the faces of the actors than the colorful shading of actors. For much of the first act, the chorus consists of cyphers, seen mostly in shadow, though this may well have been a intentional approach. There is an attempt to present reality onstage going on during this production, and the lighting approach often clashes with this, as it implies more of a fantastical or whimsical look at these situations.
 
Alongside a fantastic production team is an equally strong group of actors and singers. Each lead is well cast, and every member of the chorus gives a performance that is more than believable, and that feels real, as if they have lived the lives of the characters they have created. Rent has no single lead. Each character is integral to the story and the themes of the show, and each individual lead deserves great recognition for their performance.
 
John Boyd plays Mark, the filmmaker and narrator of the group. He initially approaches the character with an almost casual detachment, a departure from the norm, as the character of Mark can be somewhat over the top. Seemingly attached to his camera, which he uses to pull us into the story, he is the steady presence that guides the story along. There are flashes of the classic character and his manic energy to be found in Boyd's performance, especially in numbers like "Tango Maureen" and "La Vie Boheme", but for the most part, he presents Mark as a real person. Some of his more subtle moments give us clues as to who the character really is, and there is a beautiful and somewhat surprising moment toward the end of the show, where Mark briefly shows his true colors, how he really feels, and why he has been chronicling their story all along.
 
Brandon Anderson plays Roger, the tragedy-stricken musician who is forever trying to write "One great song". This role is a challenge, because when we first meet Roger, he has rehabilitated himself, and has little desire to connect with the world that destroyed his life. Charismatic Anderson plays Roger as a quiet, introspective man instead of someone full of seething rage or whining angst, and this was a fresh and welcome take on the character. There's a sense that he is powerless in his own life. Anderson's performance is sufficiently reserved and subtle, but his voice is powerful and clear, and eventually Roger begins to come out of his shell, and to take control of his life.
 
Niki Fagin excels as Mimi, the exotic dancer bubbling with optimism and a desire to be free. She lives her life like the last performance of a classic show, leaving nothing behind and with few regrets. Niki brings to disturbing life the pain of drug addiction, which is a constant issue here, but never one she overplays. Her performance is rich, emotional, and powerful. She begins the show in something resembling a drug-induced haze which carries over into "Light My Candle", a duet that is at once playful and daring. Niki's dancing during "Out Tonight" is nearly perfect; abrupt, sexy, and striking, and her voice is suitably powerful. Her multiple duets with Roger are intimate, genuine, and often heartbreaking.
 
Tom Cardinal takes on the role of Angel, excelling as the pivotal character in a unique casting. The other characters' stories largely revolve around the appearance of this tall queen. He has strange, infectious energy onstage, a unique voice, and killer dance moves to boot. His rendition of "Today 4 U" is frenetic and humorous. Tom’s performance reached its emotional climax during a scene when he and his lover share a kiss that is utterly believable, caring, warm and loving. True, he makes for an absolutely hideous woman. But that's really half the charm, and only makes it that much more powerful when he genuinely falls in love. His final sequence onstage that is especially powerful.
 
Jerrod Roberts plays Tom Collins, and succeeds in the role not just because his voice is smooth and soulful, but because his entire approach to the character is genuine. His Collins isn't just a cool guy who happens to be smart, but rather a true intellectual, and a somewhat pensive character. There are expectations that come with the role of Collins, and there are certain moments, such as in the song "Santa Fe" or the reprise of "I'll Cover You", when the "expected" riffs and approaches to certain songs taken by the role's creator and carried down throughout various casts are missed somewhat, but Roberts still impresses with his unique approach, selling emotional moments without having to add any frills. In a rock opera, the fact that he measures up to the other leads without going all out and being as intense and loud as possible is exceedingly impressive. Like his character, he makes it look easy.
 
Valerie Witherspoon plays Maureen, the vivacious shock rock performer. Valerie’s performance is humorous and outrageous, if a little over the top at times, which can be striking in contrast to who Maureen turns out to be. She is given a character who tends to be loud, brash and insistent, but Valerie manages to find room to show some welcome glimpses of Maureen's own insecurities and frustrations. This is a character who, especially once "Over The Moon" happens, can often border on caricature, but Valerie plays her mostly to fantastic effect, with a beautiful, ringing voice and plenty of charisma.
 
Kara Wilkinson is Joanne, Maureen’s latest flame and affection. She is a strong, bold woman who desires intimacy and fidelity, and Kara’s pitch perfect performance hits a wonderful note when she sings "Take Me or Leave Me" with Maureen, which is a true show-stopper. The actress does a lot with relatively little to work with character wise. We particularly appreciated her performance of an emotional phone conversation sequence during the number "We're Okay" that is often overlooked, and that many actresses would likely have thrown away.
 
J.T. Walker has something of a thankless role, as he plays Benny, the enemy of Avenue A. From the moment we meet Benny, we are meant to dislike him. He comes in with his suit and his hair and his attitude, and the idea that he is better than the lifestyle he used to belong to. It's simply not possible to dislike so earnest a performance. This may actually be the first portrayal of Benny that was remotely believable as a yuppie type. One could say Benny is the villain of the piece, as he seems almost aimless in his destruction of a community, and knowingly seeks to destroy an existing romance by exploiting the insecurities of those involved, but Rent also gives him a chance to redeem himself. J.T. gives us, in his few sequences, an antagonist who is both easy and difficult to hate at points, which is no easy feat.
 
A couple of the members of the chorus stood out, notably: Kaitlin Descunter, Dan Tucker and Don Frye. But the entire cast is packed with amazing musicians and vocal leaders. There is a clear standard that comes with Shadowbox. There's definitely a demand for the rock vocalist, and RENT is a rock opera. The show quickly arrives at a fast paced and loud version of the title song, beginning with just Mark and Roger and adding key members of the cast. By the time we hit the bridge of this opening number, we are struck with a wall of sound and emotion that rarely seems to waver throughout the show. The depth of this cast is truly impressive. It probably wouldn't be a stretch to say you could cast "Rent" appropriately two or three times over with the talent that was evident in the chorus. It's an incredible asset for Shadowbox to have at its disposal. 
   
Musical theatre is often an exercise in homage. No one wants to play a character exactly the same as it's been done before, or to perform a show they've already seen, but many actors and directors tend to put nods to other productions or approaches into their own work. The creative team and cast for this production made an obvious effort to avoid this approach, altering aspects of the show itself, including elements of the finale, yet the original work shines through, having been newly polished. Shadowbox's "Rent" is something different, and often something new. But it's still "Rent", and fantastically realized.
 
RENT continues at Shadowbox Live in the Easton Town Center every Sunday until April 17th, with performances at 2 PM and 7 PM. For ticket information and times visit http://www.shadowboxlive.org.