Review: RENT at Cultural Arts Playhouse Merrick

Teenaged theater kids of my generation (elder millennial) loved “Rent.” It was youth-culture, it was edgy, and introduced to many of us suburban kids the magic of New York City where gay men, lesbian women, drag queens, and matinee-idol heteros could all be friends and love each other as family.

Seeing “Rent” as a 40-year-old, my knee-jerk reaction has been “can it endure, or is really just a period piece of the 90s?” And that answer is a resounding, deafening “yes.”

The Cultural Arts Playhouse in Merrick opened their production of “Rent” this Saturday, January 31 and received one of the most enthusiastic standing ovations I’ve ever seen where audience members almost synchronized stood up as soon as the stage went black at the end of Act II.

Director and Music Director, Shiloh Bennett created an even more hyperemotional, raw nerve telling of “Rent,” which, given the depth of the play, didn’t seem to be possible. The blocking and sheer efficient use of the stage with strategically placed performers and inventive use of platforms to create frenetic sight lines represented the all-consuming, ever-present threat of death in the world of “Rent.”

Choreographers Ruben Fernandez and Camilla Montoya had high-energy throughout the show and individualized characters in the ensemble as well as the main cast for a cohesive visual. In “Contact” the sultry dancing couples flanking the sheet-covered orgy were like handmaidens to hell with affected and classical (but raunchy) arm movements.

Stage Manager and Costumer Samantha Eagle captured the end of the millennium fashion with some definite, interpretive influence from Gen Z’s take on the era of grunge. Of particular note was Maureen’s “Over the Moon” outfit with flowy fabrics and almost a soft fairy-core feel as Maureen is usually dressed in more aggressively sexy attire.

Lighting Designer Josh Amy and Set Designer, Dom Napoli’s world of the nineties East Village was nostalgic for those of us lucky enough to remember New York City before the clean-out of interesting people without money in the 2000s Bloomberg administration. The purposeful graffiti, the stapled posters, the shiny corrugated steel were all meant to keep people away but for those who belonged to the arts, felt a safe home. The lighting shifted colors as the year of the play went on and had a brilliant shine at the ending song.

Unique in “Rent” is having the pit onstage and Piano Conductor, Chris Russo, Guitar player, Joey Sheehan, Bass player Shiori Chazono, and Drummer Sam Levine stayed true to the music of the show, but had moments of individualized flourishes that added layers to the characters.

Aidan Schroh as Mark encapsulated the neuroticism and boyish charm of Mark so well that when he belts out “What You Own” his voice transcends the character.

Domenick Napoli as Roger was so broken and intense in his anger that when he sings “control your temper” in “Another Day” the sense of a raging wrath from the former frontman is present and the substantial roadblock to being with Mimi.

Laila Canelo as Mimi was perfect casting as her angelic face and glorious derriere (“below 14th street”) were the generous launch point for her to embody Mimi’s fragility but also her strength in the beauty of herself and life that weren’t completely taken by HIV.

While Roger and Mimi are the couple that most interested me as a teenager (probably because Adam Pascal…wow), after being married for 22 years, I finally understand the love. the bond, and profound loss that Angel and Collins had.

Anthony Orellana  as Angel provided so many more nuanced facial expressions and actions than other Angels before him. In a scene where Angel’s machismo comes out and she starts posturing like she’s from the south Bronx, the full extent of her strength is revealed and makes her white-pajama exit scene that much more profound.

Giovanni Marine as Collins was the standout in the show. The chemistry between him and Orellana was overwhelming and the sweetness and affection of their characters throughout their courtship is the genuine connection we all yearn for at least once in our lives. When Marine sings “I’ll Cover You” in the second act, the tears streaming down his impeccably well-lit face and his roaring bravado is a moment that could stand as the reason FOR ALL theater to exist.

Nicole Gonzalez as Maureen fashioned the most hilarious version of the character I’ve ever seen. Her wide-ranging vocal work added such a needed element of whimsy in “Rent,” especially when she speaks as Elsie the Cow (who apparently is a heavy-smoking, truck-driving woman probably named Bertha). A diva on-stage and in life, Gonzalez’s Maureen never misses a chance to steal the spotlight.

Leah Raquel Petraglia as Joanne, the yang to Maureen’s ying (or is it the opposite?) contrasted the strong, assured lawyer with the insecure girlfriend in such an amusing way. In “Take Me of Leave Me,” she holds her own formidable voice against Maureen and Petraglia invoked the spirt of a blues singer.

Michael Garcia as Benny, the villain, was smug with a rich person’s orthodontics toothy-smile, and capable of making the audience resent his defection to the Greys of Westport. Garcia gives us a glimmer of the old roommate Benny in “You’ll See” with his uplifting voice that belies a yuppie’s plan.