Before Jonathan Larson’s Rent became a Broadway sensation, it was developed and produced at a small theater called the New York Theater Workshop. And while the Broadway Theatre Center’s Cabot Theatre isn’t quite as intimate as the 150-seat NYTW, seeing Rent there, performed by the Skylight Opera, is a revelation.
Never mind the odd juxtaposition of the Cabot’s gilded splendor with the chain-link-fence grit of Lisa Schlenker’s set design. Even though real estate is at the core of its story, Rent has always been about people—the troubled, striving, imperfect, talented people who sing about their dreams.
But the performances are far from imperfect here. Musical Director Jamie Johns has made Jonathan Larson’s score a living and breathing thing, animated by the cast’s blend of musical chops and casual energy. “Casual” here is a good thing. There may have been opening weekend rough spots or jitters, but by the time I saw the show Wednesday night, everyone was having a ball.
And having fun onstage isn’t as easy as it looks. But director Donna Drake obviously knows the sense of order and infectious chaos that keeps this Rent humming along.
Which is just as it should be. Despite the obvious tragic undertones of Rent, it is essentially a celebration. Of freedom. Of creativity. Of life. The last time I was in the vicinity of Avenue B and 11th Street, where the play supposedly takes place, there were lots of wine bars and sushi restaurants around, but not very many tent cities or squatter inhabited warehouses. Even though the trappings of Rent make it something of a period piece, its spirit is timeless.
And like other revivals of the musical, that spirit inspires performers to do terrific work here. Rick Pendzich is the anchor here—the conduit between the audience and Larson’s Alphabet City world—and his breezy stage presence sucks you right in. Tommy Hahn brings just the right degree of smolder to Roger’s creative desires. And Juan Torres-Falcon is a charming Angel.
Given the recent struggles of Skylight, Rent was a serendipitous choice to end this season. What a wonderful thing that we can celebrate the theater’s creative drive and chutzpah through Larson’s galvanizing story and music.
Review- Skylight’s Rent
Before Jonathan Larson’s Rent became a Broadway sensation, it was developed and produced at a small theater called the New York Theater Workshop. And while the Broadway Theatre Center’s Cabot Theatre isn’t quite as intimate as the 150-seat NYTW, seeing Rent there, performed by the Skylight Opera, is a revelation. Never mind the odd juxtaposition of the Cabot’s gilded splendor with the chain-link-fence grit of Lisa Schlenker’s set design. Even though real estate is at the core of its story, Rent has always been about people—the troubled, striving, imperfect, talented people who sing about their dreams. But the performances are far…
