author: Leonard Taube
I could give you 525,600 reasons to go see Laurel Mill Playhouse’s production of RENT but that would be silly. So, I’ll give you one. How about love?
Jonathan Larson’s masterpiece chronicles the lives of several struggling young artists/activists/musicians in New York set against the backdrop of the AIDS epidemic. With roots loosely in the 1896 opera La Boheme, Larson’s tale is set in the then-thriving Alphabet City in Lower Manhattan’s East Village in New York. It was first seen off-Broadway in 1993 and officially premiered in 1996. Larson himself never got the chance to see the incredible success of the show which was, at the time, the rage of Broadway (you couldn’t get tickets!) and won, among other awards, the Pulitzer Prize for Drama and the Tony Award for Best Musical. Larson sadly died suddenly the night before the official opening. And now Laurel Mill Playhouse (Laurel, MD) has taken on the challenge of bringing this heartfelt, poignant and soul-stirring musical to its intimate stage.
Right off the bat, you know the show is going to be good when the production team has members with the name Maureen (Producer Maureen Rogers) and Mimi (Music Director Mimi McGinniss). Never mind that Ms. Roger’s last name, minus the “S” is the name as well as one of the central characters, the production staff has put together a great piece of community theatre. Director (and Set/Lighting Designer) Michael Hartsfield opened the show to a packed house which was brimming with electricity, and with good cause. Hartsfield is no stranger to the intimate venue that is Laurel Mill Playhouse, having directed there before, and has cast the show with a plethora of young talent to bring Larson’s story to life. McGinniss heads up a live backstage pit of 5 instruments and you’d never know from the sound produced. The balance of sound/voice (the actors do not use microphones) is perfect and, aside from the hum of the distracting and constant air conditioning system in the theatre (but hey, the audience has to be comfortable), you can pretty much make out all the lyrics. Choreographer Brook Urquhart has put together some snazzy dance routines that keep the actors on their toes (and with lots of jumping on/off tables and benches too). All in all, it’s a solid show, directed well, and performed with a tight cast of performers that have poured their hearts and souls into this production.
Now let’s talk about those performers, and boy, do we have a lot to talk about. There are eight (8) central characters backed by a large ensemble who play various parts throughout such as the mothers leaving answering machine messages, homeless people, policemen, restauranteurs, etc…
Brooding, dark and leading man handsome is songwriter/musician Roger Davis (played by Sean DiGiorgio who is also the show’s Intimacy Coordinator). His girlfriend has recently taken her life after being diagnosed with HIV, and he is doing his best to cope with that loss along with his aspirations of a musical career, HIV and inability to pay the rent. His melodic voice is both powerful and soft (“One Song Glory” & “Without You”) and DiGiorgio takes the audience inside his head through well directed and executed acting, exposing his complicated feelings towards life and his struggles to move on and find fulfillment, not to mention executing some dramatic jumping off platforms to the stage.
Enter an erotic dancer named Mimi Marquez, a beautiful young woman who lives in the same building as Roger. Played with sincerity and tormented ferocity by Mars Duque, she sets her sights on Roger. Their first duet “Light My Candle”, when she comes in looking for a source of light when power to the building is turned off, sparks more than just the candle’s flame. These two are magic onstage together and the chemistry ignites more than a match ever could. Unfortunately, Mimi has HIV as well and struggles with heroin addiction, as if Roger needs even more baggage in his life in addition to his own. Their relationship throughout the show ebbs and flows, taking twists and turns told through song and scenes. As she goes into the house singing “Out Tonight” one can’t help but fall for this young woman looking for love. And her duet with Roger, “Without You”, will have you reaching for the tissues.
Mark Cohen, an independent Jewish-American filmmaker and Roger’s roommate, is played with sincerity by Christian Gonzalez. Gonzalez is a delight to watch. Not only does he have a smooth-as-caramel voice, but he has great control of the storytelling. However, as with all the show’s characters, Cohen has a lot of things going on under the surface. He comes across on the outside as sprightly, youthful, aspiring and loyal (which are true) but bubbling under the surface is a young man who wants to make it on his own, and on his own terms. Does he sell out to the conglomerate or follow his passion? Cohen has a conversation with Roger towards the end which causes Mark to reflect and face those very things that subconsciously drive him. It’s a pivotal moment for Cohen, and Gonzalez’s engaging performance will draw you in from the moment you first see him.
Tom Collins, a gay part-time philosophy professor with AIDS, is played by Johnny Drew. Drew plays his character with convincing pathos, and with a terrific voice, especially one of the numbers towards the end (“I’ll Cover You Reprise”). Drew knows how to coax the raw emotion that lies buried within the soul, and the audience is taken on a journey with his portrayal of his character and how he interacts with his partner, Angel, in a relationship of pure love and commitment that gets turned on its ear suddenly in the second act.
Speaking of Angel, the heaven-sent drag queen who saves (literally) Tom is played with flamboyant finesse by David H. Valderrama. Valderrama brings his acting and singing chops to the role of the AIDS infected muse who aspires to help those around her and bring light to the world. Valderrama’s rendition of “Today 4 U”, his duet with Tom “I’ll Cover You” and “Contact” will leave you running the full gamut of emotion, smiling one minute and crying the next. Again, no spoilers for the unexposed, but Angel’s character is pivotal to the pathos of the second act. But central to creating such an effect is the ability of the actor to make you believe in and like the character, something Valderrama does with finesse.
As the saying goes, it takes two to tango. And what better tango than the “Tango Maureen”. Maureen Johnson (Iris DeWitt), a bisexual performance artist and her girlfriend, Joanne Jefferson (Alexandra Johnson), a lesbian lawyer, navigate their relationship in perfect syncopation as their characters interact with each other. The “Tango” number, which is actually a duet performed by Cohen & Jefferson, illustrates just how complicated a person Maureen (Cohen’s ex-girlfriend) can be and how she holds a spell over everyone she touches. And what a spell that is. Maureen’s performance “Over The Moon”, meant to be a protest of the cleaning out of a homeless camp in the city, is full of incredible vocals and comedic brilliance. DeWitt sings hear heart out and brings a bit of comic relief even though the “performance” is supposed to be protest oriented. DeWitt and Johnson go toe-to-toe in the boxing ring with the catchy “Take Me or Leave Me” number where they air their differences, grievances and desires. You don’t need a deposition to know that Johnson’s lawyer is no-nonsense, as well as the glue which holds the relationship and things, in general, together (“We’re Okay”). Both DeWitt and Johnson are well paired.
Last, but not least, of the main characters is Benjamin “Benny” Coffin III (Phillip Wong). Coffin is the “traitor” of the group, a former roommate of the gang, who has married into a position of power and is now the building’s new landlord. He reneges on a prior rent agreement and demands last year’s rent before ultimately shutting down the power. He is the one who wants to clear out the homeless lot that Maureen’s performance was supposed to protest, in hopes of building a cyber arts studio. Wong is more than up for the task at playing the conflicted former-tenant-turned-landlord and one wonders whose side he really is on and whether he can be trusted. Can he turn his back on his former friends, since he was once in their shoes, or press forward with his newfound agenda? Add to this Coffin’s relationship with Mimi (poor Roger) and we have quite a complicated web. His ultimate act of redemption will both delight and surprise.
As previously stated, the above noted cast is supported by a crew of many uber-talented folks (see the program when you go see the show for a complete listing). All these actors play a pivotal role in the show’s plot, as they play a host of ancillary characters and provide their voices and dancing prowess to the rousing ensemble numbers. In fact, many of them get an opportunity to shine in something solo and have great dramatic flair and singing voices to boot. I have a special place in my heart for ensemble members who, while they don’t get top billing, are quite important to the overall message of the production and can sometimes even steal the show. They are the oil that keeps the big machine turning. Watch these folks and applaud loudly.
Yes, you will hear such notable numbers as “Seasons of Love” performed with heart and soul. And yes, you should come see this show before it closes because it has a message to send. A message about hope, dreams, redemption and love which, according to the song, is how one should measure life. This is a message that needs to be heard in today’s world especially, so what are you waiting for? Go on-line and purchase tickets to see this wonderful theatrical production that will make you laugh, cry and reflect. Do it today because not only does this show have what it takes to sell out but, as the song says, there is no day but today.
Running Time: 2 hours and 40 minutes with one intermission
Rent plays through May 18th 2025 at Laurel Mill Playhouse— in the heart of historic Laurel at 508 Main Street in Laurel, MD. Tickets should be purchased in advance (though walk-ins are welcome!) and are available by calling the box office at 301-617-9906 or through the ticketing website online.
