I had just missed Rent in my home town where, as in and about London, it keeps coming back like -- as far as I could hear -- over-hyped songs. Oh, the set is interesting enough: like a leftover from The Living Theater and an amalgamation of many a rock concert set-up imposed on Our Town (if the town happens to be NYC). Would-be young artists are living a "La Vie Boheme" inspired by Puccini. But the moderns desire to "make it" and "make out" while perspiring drugs, conspiring to pay to stay in a run-down warehouse in a rat-and-mob-infested area, and miring themselves in pity for self and friends.
At the hard core of tenants is Roger, singer-composer-guitarist whose girl has just slashed her wrists because, as her suicide note said, "We have AIDS." Of course, this is going to affect a subsequent, dragged-out relationship with HIV positive Mimi. Roger's best pal, Mark, has forsaken his suburban Jewish family's hopes for him (temporarily, at least) so as to film the indigenous Life. (Neither Damien Flood nor Dougal Irvine really seem American, but Irvine clearly conveys clean-cut Mark being "torn.")
As Mimi, handsome Kristin Cummings' dancing alone should allure any man, so Roger's initial resistance to her many charms and invitation to "Light My Candle" (beautifully choreographed) makes him seem awfully phlegmatic. (To tell the truth, I found him never anything more than a self-important jerk.)
A romantic subplot involves Tom Collins (effective Mykal Rand), who teaches computers and philosophy, has been on drugs and is targeted for owing his suppliers. On cold Christmas Eve, he's rescued by the sweet homosexual Angel, first appearing as a gaudy feminine Santa, who only wants to love and be loved. In Mig Ayesa's portrayal, he also seems to me the most loveable character. A signature song, "Seasons of Love," helps mark time and the evolving romance between Mimi and Roger, who -- even though he's at her place -- is jealous of her ex-beau, walking drugstore Benny (frightening Jason Pennycooke).
Aside from the artistic and romantic conflicts, a socio-political point introduced is whether or not Roger and Mark will abet the baddies who want to prevent a protest to be held next door. Their own rent will be forgiven, and they will be helped to get the studios they dream of if they influence their friend Maureen (well named Caprice) and stop her demonstration in favor of letting the homeless stay in the occupied buildings. (This occasions a cute "Tango Maureen," by the way.)
To me, Larson's book is more melodramatic than Puccini's. I'll admit, I was really sad at the posthumous descriptions of Angel, but then I was once a sucker for "The Little Match Girl." On the other hand, I just could not swallow Mimi's resurrection! If the music had been played at anything other than the highest pitch and volume, its variety would have been more pleasing. The audience was fondest of the bit of gospel at the end. I absolutely hated all the screaming, especially in the romantic duets and too-frequent ensemble line-ups, passing for singing. I asked a collegian type in the next seat how she liked the show. She said she did, and this was her second time around, since she wanted to better understand the words. Could this be a major reason for the staying and return-engagement powers of Rent?
