In daylights. In sunsets. In midnights. In cups of coffee. In inches, in miles, in laughter, in strife. 525,600 minutes— how do you measure— a year in life? For Signature Theatre and the rest of the world, for whom its been longer than 525,600 minutes since live theatre has occurred with in-person audiences on their stages, you celebrate with a production of Jonathan Larson’s incomparable musical, Rent. Directed by Matthew Gardiner, with Musical Direction by Mark. G. Meadows, and choreography by Rickey Tripp, this heartfelt, evocative, and timeless musical is the wondrous return to live, in-person theatre that everyone in the Shirlington and Arlington, Virginia area has been hoping for.
Paige Hathaway has configured the Max Theatre (the larger of the two performance venues available for theatrical productions at Signature Theatre) for seating in the round, giving audiences a not-quite immersive feel to the performance. With signs of the times hanging all around the balcony edges, overlooking the stage— “We will not be pulled, priced, or pushed out”, “AIDS we need research not hysteria”, and “Stop the war on the poor!” just to name a few— the gritty reality of 1990’s alphabet city in Manhattan is palpable. Hathaway keeps the rolling furnishing simple, allowing for ease of scenic transition but they never deter from the overall grungy vibe of the set. Graffiti tagged on the floors and on the doors mingle with the industrial grime of the overall atmospheric verve Hathaway has created for this production.
Fully understanding the emotional gravity of the show, Lighting Designer Adam Honoré takes care to use vibrant, albeit predictable, cues to trigger emotional responses from the audience. When Roger has deep, moody moments in solo numbers, Honoré bathes the stage in cool blues. Fiery reds are used for spicier numbers, and warm glows of orange and yellow are featured for the more solemn and emotionally gripping musical moments. The beauty of Honoré’s work is in that the show isn’t over-lit or under-lit, it’s just balanced. There’s nothing too flashy but it also isn’t basic; this seems contradictory to describe, but being in the theatre in the moment, experiencing the way the lighting shifts— almost like a natural dance that moves fluidly along with performers and music alike— is impressive and worthy of praise.
Outfitting a company of 15 in grody 90’s garb that is individualized for each character and yet carries a thematic sameness is a challenge that Costume Designer Erik Teague not only rises to but meets with flying colors. Obviously the most fashionable features are showcased on Angel Dumott Schunard, whether its that Poinsettia flow-cape and matching fascinator or the rhinestone-second-skin-leotard, Teague fabricates clothing fit for a queen and they give the Angel character that extra edge needed to truly be the most vibrant performer on stage. Teague stuns with killer shoes for Angel as well; SO. MUCH. GLITTER! There are other sartorial selections worthy of praise, including the distressed togs of the ensemble whenever they are meant to be the ‘lower east squatters’ and various ‘tent-city-dwellers’ of New York City. Each of these outfits looks just a little bit different, clearly displaying the trials and tribulations of its wearer. Maureen’s wardrobe, particularly her “Over the Moon” ensemble, is stunning as well; Teague knows how to pull a series of costumes together that fit the individual character as well as the show’s overall aesthetic.
Not without its hiccups— chalk it up to opening night jitters or the fact that most of these performers haven’t had the opportunity to perform live theatre in nearly two years— the production is pleasing to the audience, evocative and moving as the evening progresses. Director Matthew Gardiner’s main issue appears to be in the pacing, finding the balance therein. Spoken scenes or dialogue exchanges happen so quickly that some of the exchanges (even for seasoned veterans like myself who know every word) get lost while some musical numbers feel as if they drag behind the tempo just slightly. These aren’t enormous complaints and they don’t wholistically derail the show but are worth noting because at times the make the performance feel ever so slightly out of sync with itself.
Gardiner’s decision to ‘show’ Maureen before her character actually makes an official appearance cheapens the mystic and enigmatic nature engrained in the character. (Half the audience might not even notice it as the actor appears in a corner-extension balcony thrust early on, in stage fog and does not speak, but if you catch it, it just adds that hint of disappointment of experiencing the full dynamic force of Maureen not arriving until nearly the end of the first act.) But for little missteps like this, Gardiner overcomes them with other clever moments— like the table-top kiss during “La Vie Boheme”, which fully justifies Joanne’s rage upon returning to conclude that Act I finale scene— that create character motivation. The show has several little moments throughout the show that really home in on the story of these characters that drives Jonathan Larson’s musical, redeeming the show’s pacing issues.
It is a strange choice that Gardiner makes for the overall staging of “Contact”, an often controversially perceived number as it is essentially an ‘orgy’ scene, which doubles as a dramatic climax for the Angel character’s storyline. The company is spread out in the ‘aisles’ singing and gyrating during this number, never actually touching one another or being near one another, which could easily be dismissed ‘safe staging’ for pandemic purposes, except that none of the other intimate scenes in this production (including kisses and singing-in-faces) is staged in this way. It appears Gardiner’s approach to this scene is to highlight and draw ‘center stage focus’ to Angel as the character belts out the “Take Me” section of “Contact”, but the performer in the Angel role is stellar enough to have commanded the attention of the audience without needing the full stage cleared. And from certain vantage points throughout the house, the writhing, roiling masses of the ensemble can’t even be seen from their locations ducked off the stage and standing in the aisles. This number aside, Gardiner does an impressive job of navigating the staging challenges this particular show presents, not the least of which is having the sensational live orchestra (Conductor & Keys 1- Angie Benson, Guitar 1- DeAnte Haggerty-Willis, Guitar2 & Keys2- Oliver Dyer, Bass- Eliot Seppa, Drums- Dante’ Pope) visible on the stage, both on the floor and above on the balcony.
There is a frenetic pulse that threads its way through the entirety of Rent and choreographer Rickey Tripp has a firm finger on that pulse, capturing it, and wending it seamlessly into the dance routines featured throughout the production. The opening ensemble number, “Rent” is electrifying and the choreography follows suit as Tripp infuses the opening dance routine with jarring, jittery jumbles of movement that align perfectly with the grungy and gritty electric guitar sounds of the song. Erratic, staccato movements populate many of Tripp’s choreographed routines, which again fall perfectly in line with Jonathan Larson’s music. The table-top routine featured during “La Vie Boheme” is reminiscent of something one might experience at a performance of Stomp and enhances the rhythm and overall mood of the musical number. Tripp’s choreography is as lively and relevant as the show itself; he is a well-fitted match for this production.
Though there are principal characters whose story the audience follows, Rent at its core is an ensemble piece. When Musical Director Mark G. Meadows brings the company together for numbers like “La Vie Boheme”, “Rent”, and “Christmas Bells” (the latter of which is arguably one of the most chaotic and exhausting musical numbers in terms of harmonies, counter harmonies, and utter calamity and cacophony in Rent) you simply feel the emotional power through the sound of the company’s voices. Emotions surge viscerally through Meadows’ work, making this performance one that lingers long past the final bows. Featured ensemble members include Adelina Mitchell, who plays ‘Alexi Darling’ and others. While her moments in sing-song spoken verse are brief, Mitchell nails the obnoxious characterization of Alexi Darling and is on-point in those moments. Featured during “Seasons of Love”, Kaiyla Gross gives the audience the moment of the show— belting her face off for the iconic verse and chorus of that number that anyone having even the most passing of familiarities with Rent will recognize. Supported by Devin Bowles in that number, the pair are steller. The ensemble as whole— including the aforementioned Mitchell, Gross, and Bowles, as well as Imani Branch, Jimmy Mavrikes, Solomon Parker III, (and at this performance) Sean Watkinson & Emmanuel Kikoni— is a sensational vocal force that carries Jonathan Larson’s music sublimely throughout the performance.
There are slight mismatches in the principal character casting. Arianna Rosario, while gifted of voice and clearly compassionate when it comes to portraying Mimi’s more intensely emotional moments, lacks the grit required to deliver a successful rendition of “Out Tonight.” There is such a disconnect between the wild, animalistic, floor-crawling, ladder-climbing dance moves that Rosario performs during this number and the polished, pretty sound that is coming out of her mouth, which is completely dissonant from the lyrics and overall style of the musical number, that it just makes the number feel unsatisfying. Rosario does perform exceptionally well and there is no question that she has the vocal chops for more intimate numbers that she shares in duet with the Roger character, like “I Should Tell You” and “Without You.”
Jake Loewenthal, as documentarist Mark Cohen, has a slightly nasal quality to his singing voice, which makes several of his moments in song sound slightly out of key. Loewenthal also has a quirky modernity to his textual patois and cadence when it comes to speaking, and although Rent is timeless in its essence, it is still set in the 90’s, which creates this veneer of Mark Cohen being this time-traveling documentarist from 2021 rather than living in the moment of the show’s natural time setting. Loewenthal has strong vocals that do really carry some of his songs quite well, and his overall emotional disconnect from the character is spot-on. There are microscopic moments of emotional experience that Loewenthal portrays throughout the performance and this aligns perfectly with the emotionally distant, detached, and ultimately aloof character of Mark.
Vincent Kempski’s performance of Roger feels exquisitely raw. The turmoil that perpetually plagues the Roger character is there from the onset in Kempski’s portrayal. There is an unyielding haunted look in his eyes, even when the character is experiencing joy. Kempski finds the balance between grit and power in his vocal delivery, particularly in “One Song Glory”, which is a number that needs both to be emotionally successful. He mouths off with Benjamin Coffin III (Da’Von T. Moody, whose higher range is a somewhat pleasant surprise for the ‘Benny’ character), and is edgy, but not unkind when it comes to his other character interactions. The intimacy (as coached by Resident Intimacy Choreographer & Consultant Chelsea Pace) between Kempski’s Roger and Arianna Rosario’s Mimi is striking; Kempski brings the distrusting hesitancy with full force, particularly during “Another Day.” And his fraternal engagement with Loewenthal’s Mark, especially during the ‘Living in America’ portion of “What You Own” feels highly authentic.
Joanne Jefferson is arguably one of the most underrated characters in Rent. Ines Nassara is ensuring that audiences leave the theatre fully enamored and unable to forget Joanne. Full of gusto and an indefatigable spirit, even when being faced with a cheating girlfriend, said girlfriend’s ex-boyfriend, and unsupportive parents, Nassara transforms Joanne into an underdog hero that the audience truly loves. Though her moments in solo song are not nearly as plentiful as some of the other principal characters, Nassara brings her vocal prowess to the table full force. “Tango: Maureen” is a divine comedy, featuring Jake Loewenthal’s Mark, and showcases not only Nassara’s vocal capabilities but her ability to dance, more specifically tango (backwards! In heels!) But she steals the scene in her duet with Maureen, “Take Me Or Leave Me”, vocally belting her face off to really drive home the message of this emotionally volatile duet.
Despite a directorial debacle of debuting her character too soon, Katie Mariko Murray simply slays in the role of Maureen. Forget the fact that she makes an unforgettable official entrance, slithering down the fire pole and demanding all eyes on her, when she takes to her big opening number, “Over The Moon” the audience is just stunned. The bar for that particular number is set astronomically high by the role’s originator, Idina Menzel. The number itself is a raging wild bull, and actors playing Maureen either have to show up ready to ride or get trampled in their attempt to tackle it. Murray takes a flying leap, lands like an Olympian and wrangles this number into submission, making it her own unique creation that still serves the song, defies description, and ultimately wins over the hearts of the audiences (you can tell by just how enthusiastically they start mooing with her when she commands it!) Murray brings her own ferocity to the role of Maureen, toeing that line of diva and playful flirt with a powerful set of vocal pipes to support it. Utterly amazing, Murray really knocks the wind out of you in the most impressive and delightful way possible when owning this role.
Two hearts, one story, Tom Collins (Josh A. Dawson) and Angel (David Merino.) As far as show-stopping, heart-stealing winners, it’s a dead-heat tie between the pair. While both are unique in their performances, each bringing carefully calculated strengths to the production, when they work together— which is most of the show— it is truly phenomenal. Dawson, as the quirky yet grounded Tom Collins has a smooth, mellifluous voice that soars beautifully through “Santa Fe”, hitting both the low-range and mid-grade notes written into the number. His indefatigable attitude is something to truly be admired, particularly when the end of the show comes around, after everything his character endures. The “I’ll Cover You: Reprise” wrenches tears straight from the heart and when the ‘blow-up’ between all of the other occurs outside the church and Dawson’s character turns to address them, it is one of the most evocative moments in the production. The duet that Dawson shares with Merino, “I’ll Cover You” fully explodes with the jitters of fresh and new live and gives you all the tingles in all the feel good spots.
David Merino is a true firecracker, stunning, slaying, and ultimately winning at the game of “living your best life in this production of Rent.” Angel is easily the most dynamic and vivacious character in the script; David Merino does not disappoint. From the moment you encounter Angel, subtle and demur, to the moment you witness the character bursting at the seams in basically ever other number, there is nothing but love and adoration glowing in waves from the audience directly on stage toward David Merino. The dancing, the drumming— the splits and acrobatics that Merino achieves during “Today 4 U”— nothing short of breathtaking. Merino’s voice is a perfect match for blending and harmonizing with Dawson during their duet “I’ll Cover You.” The facial expressions, the overall animation, and genuineness that Merino puts forth into the Angel character is second to none in this production. It is truly remarkable to witness David Merino in action; you’ll want as much of the Angel character as is humanly possible from this performance of Rent.
There are not 525,600 minutes of this performance; it only runs through the new year— and it’s gonna be a happy new year (to quote Jonathan Larson) if you make sure you get your tickets to see Rent at Signature Theatre before the calendar draws to a close on 2021.
Running Time: 2 hours and 45 minutes with one intermission
Rent plays through January 2, 2022 in the Max Theatre at Signature Theatre— 4200 Campbell Avenue in Shirlington, VA. For tickets call the box office at (703) 820-9771 or purchase them online.
