ENERGY KEY ELEMENT OF THE WILLIAMSBURG PLAYERS' RENT
Theater Babe Says: Go … and Embrace This Season of Love
First produced on Broadway twenty years ago, Rent captured a moment in time and realized author, composer and lyricist Jonathan Larson’s vision of bringing musical theatre to the MTV generation. The Williamsburg Players’ production successfully recreates that moment through the cast’s impressive energy and strong vocals, as well as the exceptional blocking by director Dana Margulies Cauthen.
As described by the American Theatre Wing, “Rent is a rock musical loosely based on
Giacomo Puccini’s opera La Bohème. It tells the story of a group of impoverished
young artists struggling to survive and create a life in New York City’s East
Village in the thriving days of Bohemian Alphabet City, under the shadow of
HIV/AIDS.” At the time of its opening,
the show was controversial in part due to its LGBT main characters and its
forthright, personal portrayal of the impact that HIV/AIDS can have on a
community.
Ms. Cauthen’s extensive background in choreography is apparent
in her blocking. Although for the most
part she wisely refrains from having the characters execute precise
combinations, her full use of the two-level set and the placement of the actors
as they flow from one scene to the next creates a kind of uninterrupted dance
which stops only with the end of the final note. That seamless movement of the cast creates a
fast-paced, but not rushed, show that slows only for dramatic emphasis of a
plot point and reinforces the credibility of the creative energy that is
integral to the presentation of the characters’ bohemian lifestyle. The Theater Babe also enjoyed the fact that
Ms. Cauthen mixed up the staging of the company
numbers so that different members of the ensemble have the opportunity to be
featured in dominant stage positions.
The plot revolves around eight main characters and tells the
story of their relationships with one another.
Jordan Wentland (Mark) and Trey Heath (Roger) are believable as the kind
of close friends who are willing to share unvarnished truths, best displayed
during their powerful duet, “What You Own.”
While Mark is typically portrayed as an edgy and clinical individual,
here Mr. Wentland’s interpretation presents him more as a genial outsider. He has a quality vocal tone, but during the performance
the Babe attended, he sometimes struggled with picking the opening note from
the minimalistic instrumental introduction; when the instrumentation became more
full, he quickly corrected the pitch. Mr. Wentland and Charity Robinson (Joanne)
have a pleasing vocal blend displayed during “Tango: Maureen” and even if the number’s
choreography verges on being a tad “musical theatre-y,” the actors’ execution
of it is flawless. Ms. Robinson’s
powerful singing voice is well-matched by Valerie Zangardi’s Maureen in “Take
Me or Leave Me.” Mr. Heath’s “One Song,
Glory,” is compelling, and his musical numbers with Madison Raef's Mimi are
credibly sensual although their interactions which are not sung are curiously
dispassionate. Ms. Raef’s “Out Tonight” is spirited, but her vigorous gyrations
have a deleterious effect upon her vocals; she ably manages the octave jumps
but the rest of the song often falls well under pitch simply because she is noticeably
gasping for air. That number would be
improved if the demanding up-and-down choreography was used more sparingly so that we
could appreciate the vocals as well as the movement.
Rico Robinson (Bennie) has a lovely singing voice but his
overall portrayal of a former bohemian who has bought into corporate America is
perhaps less polished and sophisticated than one might expect of the role. As Tom Collins, Dante Perry’s voice is lush
and resonant, especially in his lower register. The Theater Babe wishes only that Mr. Perry
would take more care in his enunciation of both lines and lyrics so that we can
have full comprehension of Collins’ point of view, particularly but not only
during “Goodbye Love” when he silences the group’s bickering.
Alex James delivers a standout performance as Angel Dumott
Shunard. In a role that could easily be
overacted, Mr. James’ interpretation is judiciously restrained even as he fully
flaunts the character’s flamboyance. The
Babe just regrets that in “Contact,” the relentless strobe light makes it difficult
to discern the totality of his performance.
Two members of the ensemble are worthy of individual mention;
the Babe is sorry that only one is identified by name in the program. C.J. Brewer (Gordon) has a memorable solo at
the beginning of “Life Support” (more commonly known as “No Day But Today”). Dylan Thomas, the actor identified in the program only as “Steve” and who starts
the “Will I” canon, delivers a performance that is heartbreakingly beautiful.
The company as a whole is comprised of uniformly strong
singers who harmonize well and are skillfully directed by Music Director Jonathan
McCormick. Some of the show’s best moments are when the cast simply
sings. Rent’s most famous song, “Seasons of Love,” is unquestionably this
production’s highlight and Ms. Robinson’s performance of its featured
vocalization is extraordinary.
The costumes by Lisa Neun, Julie King and Jessica Webster effectively
depict the time period. The lighting,
designed by Scott Hayes, is less successful.
Too often the lights are so muted that we are unable to fully see the
performers. While that effect is
deliberate and well-used during the answering machine messages where the caller
is seen in silhouette, frequently the principals’ facial expressions are obscured
by the dimness.
Ms. Cauthen and Mr. McCormick have placed the band onstage,
and for this show it was a good choice.
Sound Board Operator Jim Henion is clearly alert at the switch, because whenever
the band was in danger of drowning out the vocals, the sound was adjusted to
maintain an even balance.
Bottom line? This subject
matter of Rent may not be for
everyone, but the impressive vocals and energy of the entire company makes this production well
worth the time and ticket price.
© 2016 Hampton Roads Theater Babe. All Rights Reserved.
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