Relevant and Rousing: Revolution Stage’s Production of ‘Rent’ Is Well-Acted and Perfectly Paced

Although Thanksgiving is still a couple of weeks away, Revolution Stage Company’s cornucopia is filled with plenty, thanks to the company’s production of the classic musical RENT.

Next April will mark the 30th anniversary of the Broadway premiere of RENT. Composer, lyricist and book writer Jonathan Larson based his work the 1896 opera La Boheme. Both storylines follow the lives of “Bohemians,” struggling young artists who seek love, success and acceptance.

Larson set his musical in New York City’s East Village in the mid-1980s; it is where he and his friends lived, and RENT tells their story of life in the midst of the AIDS epidemic. With its rock-opera score and rough, edgy subject matter, it became a hit. Jonathan Larson died at the age of 35 from an aortic dissection the night before the show’s first preview performance off-Broadway. Sadly, he didn’t get to witness the huge success he worked for many years to create. The show became a phenomenon, winning the Pulitzer Prize for Drama and Tony Awards for Best Musical, Best Book and Best Score.

Director James Owens has cast 12 very talented performers to tell the still relevant and moving story. He keeps the pace of the show moving yet unhurried.

Larson’s story gives us Roger, a musician and former heroin addict (Joseph Portoles), and his videographer roommate, Mark (Koby Queenen). Both actors have exceptionally strong singing voices and stage presence; their physical size difference works well for the characters. Maureen (Christine Michele) is Mark’s former girlfriend/roommate who has dumped him and moved out to be with her new love, Joanne (Imani De Leon). The on-again, off-again, on-again relationship is interesting to observe but would be exhausting to inhabit. Michele has a beautiful singing voice and unrelenting physical energy, but at times, her physicality makes her difficult to understand verbally. De Leon’s unflappable demeanor and commanding facial expressions are used effectively. Joanne and Mark have a wonderfully entertaining song and dance number, “Tango: Maureen,” which has them addressing Maureen’s high-maintenance requirements.

Benny (Isaac Gaeta-Tollette) is a former roommate of Roger and Mark who now owns the building in which they live, and he is demanding that they pay their rent. Gaeta-Tollette sings wonderfully and gives Benny multiple dimensions. Tom Collins (MaMa Silver) is coming to visit Roger and Mark when he is mugged outside their building. Tom is found and helped by Angel (Steven Janji), an unapologetic drag queen who immediately decides Tom Collins is the right lover; both are HIV-positive. Silver has a powerful voice and strong emotional range, while Janji’s Angel is the heart of the show. His twinkling eyes and dazzling smile grab viewers from his first entrance, and the stage is energized whenever he appears.

Mimi (Alisha Bates) is a neighbor of Roger and Mark. She comes to their apartment door seeking a light for her candle so she can shoot up heroin. She flirts with Roger, and their attraction is palpable. Bates is sublime—she has a tremendous voice that dazzles when let loose. She gives Mimi nuance with subtle glances, tilts of her head and splendid vocal dynamics, as in the softly delivered “Without You.”

Four versatile members of the ensemble play various roles, floating in and out as a sort of Greek chorus. Kudos to L.T. Cousineau, Lexi Taylor, Joyanne Tracy and April Tran!

The original set concept has been masterfully designed by Joyanne Tracy. She uses the entire stage space in practical ways and adds areas that extend out into the theater on both sides for additional staging possibilities. She also cleverly has the show’s song titles painted to look like graffiti outlining the stage proscenium. Musical director Cheryl Gaul has done a wonderful job with the cast and the show’s challenging music; duets, groups and full-cast numbers contain nicely blended harmonies. Ben Lopez’s choreography was effective and well-rehearsed, while Rebecca McWilliams’ costumes were varied and many. Some of the changes happened very quickly, which required inventiveness and simplicity. With the show set in winter, and many references made about cold temperatures, I did wonder why some of the characters didn’t have some sort of outer garment, while other characters were always layered.

Nick Wass is credited as the lighting, sound and video designer. There are many lighting cues throughout the show, which is tricky, as the areas being utilized are constantly changing. I found it disconcerting that several areas of the stage were not lit, leaving the performers literally in the dark. Even when the electricity is supposed to be “off,” we need to see who is singing or speaking. The very poignant moment toward the end of the show when Mimi and Roger are singing “Your Eyes” was performed in near darkness.

The volume of the musical accompaniment overpowered the singing for much of the show. Although full-cast songs like “La Vie Boheme” were helped by the number of singers, songs like “Seasons of Love,” which needed to display vocal dynamics, were not as effective.

Music and lighting issues aside—which are hopefully adjusted—this is a very good production of a theater classic.

Rent will be performed, with 7 p.m. evening shows and 2 p.m. matinees, at various times through Sunday, Nov. 23, at Revolution Stage Company, 611 S. Palm Canyon Drive, in Palm Springs. Tickets start at $33. For tickets or more information, visit www.revolutionstagecompany.com.