It’s funny to think that Rent is now a twunk at 30 years old, but the songs and story still hit deep. Circle Theatre opened the iconic musical on April 23 and director Garret Storms’ stewarded his cast into a striking production that felt as relevant today as ever. The cast and onstage band kept the grittiness of the original but bridged the gap making the struggle for mere dignity feel strikingly contemporary.
In Circle’s space, this Rent felt intimate without sacrificing the big energy of the songs or the high drama among the characters. Still, the cast utilizes the entire space from the stage to the aisles that gave the show a creative style while also adding a sense of urgency to the stakes at hand.
Based on the opera La boheme, the story centers on a group of 20-somethings creatives and progressives in New York. Lack of food, money, heat as well as living with AIDS and fighting gentrification are daily battles. The eight characters lean on each other heavily in such trying times before social media and cellphones.
What made this production successful was its dynamic of actors who embodied their characters fully. They conveyed an authentic camaraderie which lent to the emotional impact of the show.
The bromance between Roger and Mark was perfectly conveyed by Gideon Ethridge and Ryan Michael Friedman respectively. The actors seemed to have a read on each other that enhanced the characters’ bond. Friedman brought a sensitive nature to Mark that contrasted Ethridge’s swagger in Roger’s imposter syndrome as a musician. Ethridge mixed Roger’s confidence and doubt with a delicate touch.
Raphael Agee and Landon Blanton played Tom and Angel who meet under almost-tragic circumstances. As their relationship blossomed, Agee and Blanton tapped into a charming wavelength of chemistry. Agee’s performance was steadfast as Tom which established the character as the most stable of the bunch. Blanton was the colorful opposite as the drag artist Angel. Blanton tapped into a heartfelt strength that centered Angel as the heart of the show.
Karrington Sneed as Joanne and Lauren Teders as Maureen as a couple were another dynamic of contrasts. Joanne’s Type A to Maureen’s free spirit were oil and water and the actors succeeded in navigating both the differences and compatibility of the two.
Maria Shorunke was a revelation as Mimi. She delivered a mighty performance that was filled with heart and sensuality with a tender touch. As the proper professional of the bunch with an actual job, Benjamin was played with an appealing combo of snobbery and sympathy by Vincent Witherspoon.
The show moved at a brisk pace through Storms’ direction but also Vicky Nooe’s music direction. Her onstage band of four were as much a part of the action through their music or the occasional stand-in as a peripheral character or body. Nooe’s work through the music and actors’ performances provided the show’s punch.
Amber Marie Flores’ choreography was a fascinating work in body movement that added a compelling note to musical numbers. Costumes felt appropriately grungey to the era, but Murell Horton’s work also had a timelessness through his selection of garments and ensembles that personalized each character to a tee.
As someone who is quite familiar with Rent and the songs, this production still had the power to draw a few tears. The emotional moments were all delivered with the spirit of a tight-knit chosen family. “Seasons of Love” drew an unsurprising sing-along which somehow connected me more to the characters rather than any sort of dissociation. And served to remind that connection is perhaps Rent’s most important themd – well, that and looo–ooo–ooove.
The show runs through May 16.
–Rich Lopez
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