By Courtney Neistadt and Kathryn Olsen
The Eccles Theater in Salt Lake City is currently playing home to an industrial loft on Avenue B as Broadway at the Eccles hosts Jonathan Larson’s RENT. While every story is different, this 1996 Pulitzer Prize-winning retelling of Giacchimo Puccini‘s 1896 opera, La Boheme captures the unique lives of eight struggling artists living through the AIDS crisis and struggling with worries much more monumental than the need to pay rent. It was famously penned by an author who passed away of AIDS-related complications one day before opening night. Both reviewers are long-time fans and looked forward to seeing this 20th anniversary tour.
HIV positive Roger’s (Joshua Bess), passion for music is eclipsed by his drive to write one great song before his time runs out. His best friend cum roommate Mark (Logan Marks) struggles to beautifully film “La Vie Boheme” in New York while being surrounded by dying friends. The titular struggle is brought to light as Benny (Xavier McKinnon), a former roommate and trusted friend, serves an eviction notice. Both Mark and Roger have lost faith in love; meanwhile Angel (Javon King), a young drag queen with an enormous disposition to do good, falls in love with an anarchist former teacher named Collins (Devinre Adams) and the connection that they share because of their mutual diagnoses of AIDS shows cast and audience alike what it means to live and love without fear. Mimi (Deri’andra Tucker), a young heroin addict who is also living with the disease, enters into a contentious relationship with Roger while struggling with her efforts to give up her addiction. Rounding out the cast are Mark’s ex-girlfriend Maureen (Lyndie Moe), a bisexual whirlwind of emotion, sass, and opinion; and her partner Joanne (Lencia Kebede), an Ivy League lawyer and activist who isn’t afraid to fight for what’s right. These friends seek for ways to create a life worth living regardless of society’s ignorance.
Bess as Roger consistently portrays a man terribly closed off to the world. With every movement, we see a tormented man yearning to see the good in the world, but who is unable to open his heart. Bess’ beautifully smooth voice is beautifully occasionally reveals Mark’s dark side as it becomes raspy.
McKinnon makes it dreadfully difficult to hate the character who betrays his friends his core goodness is apparent to the audience. McKinnon arrogantly struts across the stage with privilege and wealth, but is not fully able to detach from the most important people in his life.
The character Angel is just stunning from her first entrance. With a voice like butter, King flawlessly implements goosebump-raising runs and trills. King’s interactions with Adams and portrayal of Angel shows the unfeigned lifestyle of a human who has found their true place in this world while others claim she doesn’t understand life.
Moe, while relatively young, has no problem fulfilling the daunting role of Maureen. She is loud, quirky and doesn’t care to the opinions of those around her. It’s hard to draw the line between where Maureen begins and Moe stops. Moe’s raw talent makes it seem unnecessary for her to play a diva with every step that she takes and every vibrato-filled note that she sings.
Tucker’s Mimi fuses audacity and vulnerability so her emotional baggage needs not be spoken. Her role demands a fierce sense of self as well as honest vulnerability and is mesmerizing.
Marks’ narration in struggling self-awareness keeps his constancy from feeling stagnant. His performance rides an emotional roller coaster, but his strongest moments are when he is defiantly promoting a life fully lived.
Kebede’s Joanne is capable and assertive without ever drawing undue attention from Maureen. She plays the high-pressure lawyer just shy of high-strung at times, which she echoes marvelously in both “Tango Maureen” and “Take Me or Leave Me.”
The love story between Angel and Tom Collins is the most striking. Adams’ chemistry with King is playful and natural, but his performance of “I’ll Cover You (Reprise)” is so emotionally raw that it creates an almost sacred moment.
Director Evan Ensign hems this remarkable cast so that characters seem as familiar as any other people on the street. Choreographer Marlies Yearby, and Musical Director Matthew DeMaria collaborate so dances mimics body language and musical choices are open to improvisation. Conductor Matthew DeMaria allows the small orchestra to support and respond to the needs of the ensemble and soloists. The set design and costumes by Paul Clay and Angela Wendt go hand in hand as a chaotic blunder of second-hand filth that drives home how these characters are making do with their circumstances. The simplicity of the lighting design by Jonathan Spencer is succinct, yet done with purpose as it highlights the characters’ simple lifestyles and sharp emotional moments. Just as Larson would have had it himself, Keith Caggiano preserves the original feel of the music itself and magnified the use of percussion, echo, and other sound effects to surround the cast with the sounds of Manhattan.
Due to its many depictions of and references to drug abuse, sexual material, and crude language, RENT is not suited for younger audiences. More mature audience would be absolutely remiss in not seeing this awe-inspiring, realistic musical.
This season of love is only at the Eccles Theater until June 30, so hurry to get tickets without delay. It is guaranteed to move and entertain audiences of all backgrounds and they will echo the words famously spoken on opening night: “Thank you, Jonathan.”
Broadway at the Eccles Presents RENT; by Jonathan Larson.
The Eccles Theater, 131 Main St, Salt Lake City, UT 84111
Jun 25-30, 7:30 PM; see website for times on each date.
Tickets: $47-215
Contact: 385-468-1010
Broadway at the Eccles Facebook Page
RENT Facebook Event
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