Review: RENT IN CONCERT at The Kennedy Center

Rent in Concert proved that the music and lyrics of composer Jonathan Larson are inexhaustible in their richness and complexity.  Larson’s beloved work moved the audience to tears, laughter and vigorous applause after each musical moment. The lush yet biting orchestrations by Sean O’Loughlin were played with sublime resonance and clarity by the National Symphony Orchestra aided by a top-notch group of theatrical talent---and aided by the superior acoustics of the Kennedy Center Concert Hall. Conductor Steven Reineke conducted with sensitivity to the music and, concurrently, with a sparkling verve. 

Though the influence of the opera La bohème is well known to be underlying the book of this influential “rock opera”, the multi-talented Jonathan Larson has written a work that only grows in power and relevancy.  I can easily see how this cutting-edge and forward-looking show may have influenced such productions as Next to Normal and Jagged Little Pill.

I have seen Rent produced in its original full theatrical format and in several televised concerts but the concept that I saw presented here reminded me that the crowning glory of the show is the variegated and multi-layered musical score.  The heartrending poignancy of the songs “I’ll Cover you”, “Without You” and “Light My Candle” cannot be denied but there is also the wit and wistful quality of  the “Tango: Maureen “ and the metaphoric yet cutting-edge showstopper “Over the Moon”.  The exuberant yet jolting mood of “Rent”, “Out Tonight” and “La Vie Bohème” rocked the house and the perennial favorite “Seasons of Love” was a crowd-pleasing favorite. Concert Director Sammi Canold directed with a strong theatrical feel and sensitivity to the many moods of this classic and influential rock opera.

“No Day but Today” and “Live for Today” is a continual musical motif/refrain amidst the chaos and apocalyptic ambience of the characters living on the edge with HIV, addiction, and economic pressures (it feels like a sin to use the term “characters” as the individuals given to us in this book by Larson are such real individuals that easily remind one of people one might know).

The “feel” of the music seemed to range from rock to quasi -operatic and onwards to quasi -novelty songs to ballads. 

The ensemble of theatrical talent and vocalists here was tightly knit together and all were at the top of their game but there were certain standouts. I occasionally wished there could have been surtitles-- for the procession of lyrics flew by so fast but, luckily, the talented artists assembled here delivered clear diction so you could hear most every line.

Ali Stroker delivered a knockout comedic performance replete with theatrically polished embellishments and timing in the witty “Over the Moon”. Stroker was also sublime in a different vein as she sang with passion and defiance in “Take Me or Leave Me”. (Awa Sal Secka was in fine voice as the lesbian partner, Joanne).

As Mimi Marquez, Lorna Courtney was vocally delicate and mesmerizing in the interpretation of her role as the drug-addicted club performer. Marquez howled with such soaring beauty as she accented the word “out” in the song “Out Tonight”. 

Andrew Barth Feldman’s performance and interpretation of the idealistic Mark Cohen was refreshingly very natural and relaxed looking. Feldman’s rendition of “Halloween” was an affecting ode to conflicting thoughts.

Alex Boniello’s portrayal and vocals as Roger Davis were masterly. Mr. Boniello possesses a viscerally exciting and commanding stage presence. Mr. Boniello’s vocals on “One Song Glory”, ‘Your Eyes” and his musical moments with Ms. Courtney were vigorous and exciting.

Jimmie Herrod’s portrayal of Angel (who comes to a sad end) was spot-on with an engaging quality of naivete at times. Mr. Herrod’s textured and sensitive tones often reminded me of a young Johnny Mathis (this is meant as a supreme compliment). Herrod moved the audience with the emotional song “I’ll Cover You” for his lover Tom Collins (a wonderful performance by Terrance Johnson).

Myles Frost delivered a solid performance as Benjamin “Benny” Coffin Ⅲ.

The ensemble of four singers were most effective ---namely, Ted Guzman, Zach Fike Hodgers, Quynh-My Luu, and the continually pleasurable pro that is Nova Payton.

Sean Mayes should be credited with the superb musical supervision.

Superior and innovative lighting design by Cory Pattak stood out at the right moments ---shafts of lights in various hues of red and blue hit the stage from overhead and from differing directions in a most effective manner.

The Kennedy Center should be commended for presenting this once in a lifetime musical experience celebrating the work of the musical genius that is Jonathan Larson. A cultural pop phenomenon, initial audience members grew up with this amazing rock opera and they are nostalgic for these songs and music --- hopefully, this concert will tour widely, and a new generation can see what all the very justified fuss is about! Timely issues and universal themes never grow stale.

Running Time:  Two hours plus a fifteen-minute intermission

Rent in Concert was presented on Wednesday, July 26, 27, and 28, 2023 at the Kennedy Center located at 2700 F Street NW, Washington, DC 20566. For more information about the Kennedy Center go to: https://www.kennedy-center.org/

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