BWW Reviews: MAD Theatre of Tampa's RENT at the Shimberg Playhouse

What is the most overrated musical of all time? Granted, it's a loaded question, but there are several contenders for the crown. Cats, of course, must be on the list. Others might include Wicked or Spring Awakening. But no conversation on overrated Broadway musicals can leave off Jonathan Larson's iconic RENT.

Although RENT'S themes and the reimagining of Puccini's La Boheme prove quite clever, Larson's lyrics sometimes range from hackneyed to downright misguided ("To Sondheim, to Sontag...to anything taboo" which makes no sense to me, since Sondheim and Sontag have never been considered taboo by anyone). In some ways, RENT tries to force its bohemian coolness on us in much the same way that the dated Hair did in the 1960s. Real bohemians didn't flock to the show (most of the starving artists couldn't afford it); RENT was elevated by teens and wannabe Bohemians (the real-life Bennys of the world saw it, while the real-life Rogers stayed home strumming their guitars).

So why is it such a success? For one, much of Larson's music is inspired. Where he sometimes strains as a lyricist, he makes up for in his music. Also, his subject matter seemed old hat even when it first opened in 1996 (that's why the 2005 movie was set in 1989). Nowadays it comes across as a period piece. Sadly, AIDS/HIV is still an issue; it's just not the prevailing issue it was twenty years ago.

I've heard some of the more cynical theatergoers suggest that RENT'S success is due to the story behind the story--Mr. Larson's tragic death before the show's 1996 off-Broadway premiere. What better way to underscore the message of "there's no day but today" than the premature death of the show's creator?

My guess for its success is that, whether you think it's overrated or not, RENT still shakes audience members (including me) emotionally with its subject matter and (mostly) powerful score. It packs quite a punch, especially when done right. And the fine folks at MAD Theatre of Tampa have done it right. In fact, this production is oftentimes so good that you can't believe it's a community theatre that put it on.

I have seen several performances of RENT since the 1990's, and this is by far one of the best. First of all, they have a Mimi that rocks the house. Tyla A. Rodrigo is simply sensational. Her "Out Tonight" sizzles, and her voice rocks when needed but also exudes vulnerability (especially in the exquisitely performed and staged "Without You"). She's a Mimi we really care for; her journey is believable, and Rodrigo carries quite a voice from her first big song ("Light My Candle") to the powerful finale.

Equally as good is Nicolas Burgos as Roger, the aging ex-junkie former rocker who's searching for the perfect song. Burgos is quite a presence, and he carries a lot of the show on his sturdy shoulders. His "One Song Glory" and "What You Own" (a duet with the character Mark) are incredibly strong.

In the thankless role of Mark, Zack Sutton does an admirable job. The part has never worked for me in any production I've seen (even with Anthony Rapp in the role), mainly because it's hard to make the observers of life seem captivating. But Sutton gives his all, sings wonderfully and makes Mark a fiercer presence than other productions I've seen. It's just hard for me to accept him as a member of this Alphabet City "avant garde." But that's not Sutton's fault; it's a problem every production of RENT must tackle.

Melissa Doell's feisty Maureen gives an ovation-worthy "Over the Moon" (I'm always hit or miss about this particular number, but Doell knocks this one out of the park). Her "Take Me or Leave Me" with her lover, Joanne (played by the extremely talented Karli Gundersen), is very strong as well, though I had a hard time deciphering some of the lyrics.

Justin Batten is quite stirring as Tom Collins, once we get all thoughts of Jesse L. Martin's original performance out of our minds. Batten's emotional commitment in "I Will Cover You (Reprise)" works well and ends up breaking our hearts. His duet with Kevin Lara's Angel on "I Will Cover You" is infectious; you really get the feeling that these two are in love (even though they pretty much just met). Batten's a fine actor with a strong singing voice, and although his Tom Collins took me awhile to get used to, he won me over.

Lara's Angel Schunard is the heart of the show and a likable presence. I'm not a fan of "Today for You, Tomorrow for Me," but Lara gives it his best try, although he messes up the lyrics to it (he mistakenly sings "I'm certain that girl will bark itself to death" instead of the correct "I'm certain that cur will bark itself to death").

Harrison Mootoo is a wonderful Benny. Benny, like Mark, is a thankless role, but Mootoo breathes life into him--the life of a grown-up (ironically played by the youngest member of the RENT cast). Benny has moved beyond the bohemianism of his youth unless he can find a way to exploit it monetarily, and Mootoo hits just the right notes--a friend who has moved on to become a smooth Yuppie quite comfortable in his clothes. His "You'll See" is one of the strongest numbers of the night.

The homeless ensemble deserve special mention: Heather Spillane, Iris Moon, DeAnna Zaccaria, Mika McGee, John Colby and Joshua Monsoon. They make a nice dancing troupe in the background of "Santa Fe." Sometimes I get annoyed when too many background characters are unnecessarily put in numbers where they don't belong (see "Tango: Maureen"), but here it works and they all make for a splendid, appropriately ratty dance troupe. The highlight of the ensemble scenes are in the various Christmas songs, especially when Colby gives us the finger--actually two fingers in the place of antlers--while singing "Rudolph the Red Nosed Reindeer!"

My favorite song in RENT, "Will I?", is simply staged but quite effective here. The entire cast stands on both sides of the audience, with two members remaining on the stage. And the song sounded heavenly with those beautiful harmonies; this may go down as my favorite rendition of this song, Larson's best. Glorious!

This RENT did take me awhile to warm up to it. The title song did nothing new and didn't move me, and I suddenly felt outside the show; for a moment, I wondered if I had seen RENT too many times, but then some time shortly after "Tango: Maureen," this production grabbed hold of me and never let go.

Much of the success of this rests on director Anthony Paul Gilkinson's shoulders. His staging is quite bold without getting in the way too often. Two bits that he created had me falling off my chair in awe, both of them dealing with the end of Act 1's "La Vie Boheme." The re-creation of "The Last Supper" with the waiter holding the gold plate in place of Jesus' halo was laugh out loud funny (and yes, it was also done in Mel Brooks' The History of the World, Part 1, but it works just as well here). Even more creative is the "Cup Song" allusion that instantly elevated this RENT above most others. The cast using red and green cups in their best Pitch Perfect mode was an act of sheer brilliance, and my hat goes off to the fine director for thinking of such an awesome piece of staging.

My only qualm with the direction occurs in "Tango: Maureen." In RENT, I have always enjoyed that one of the main characters doesn't make an appearance until near the end of the first Act. But here, Maureen appears in "Tango: Maureen" with other tango dancers, and yes, I can see where the creative team thought this was a good idea. For me, though, I felt it hurt the overall structure of the piece. These characters talk and talk about Maureen, and we finally get to see what all the hubbub is about in the "Over the Moon" section. Bringing Maureen out so early in this production unnecessarily took that surprise away.

Dwayne A. Cline's set never once gives us the feeling of being in New York City. It reminded me of a farmhouse where someone forgot to take down the Christmas lights. Though I did like the idea of the hanging keyboards as well as the various posters, including one for MAD's previous production of You're A Good Man, Charlie Brown. I wonder if the Charlie Brown poster was an homage to MAD theatre's production (if so, what's it doing in NYC?), or to Anthony Rapp, RENT'S original Mark who also played Charlie Brown in the 1998 Broadway production with Kristin Chenoweth.

The music is beautifully performed, thanks to music directors Peter Belk and Kyle Goyens. The singing is first rate for the most part, and the harmonies impeccable. The cast nailed "Seasons of Love," the most famous song from the show, especially Heather Spillane's goose-bump-inducing vocals. What a voice!

The audience was extremely appreciative with a prolonged standing ovation, and word of mouth must have spread, because the show is sold out through its run, even with performances added. This is a testament to the power of RENT and to the overall excellence of MAD Theatre's production. If you're lucky enough to get a seat, you're in for a treat. If not, then make sure to get your tickets early for the next MAD show. This is one community theatre that delivers the goods.

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