Living through a pandemic, I’ve learned that we can’t take things for granted. I recently read an article about Hamilton coming to Australia, with members of the original creative team sharing their joy that somewhere across the ocean people would get to the theatre and see their show. Not long afterwards I found myself at The Art House seeing one of my favourite musicals, Rent, fresh from its stint at the Sydney Opera House. Things were different, with QR code check-ins and masks (not compulsory, but smart and necessary for keeping my anxiety at bay). And there was no way we were allowed to moo (if you know, you know). But at the end of the day, I got to see artists bringing an iconic piece of musical theatre to life in front of my eyes, something that in much of the world still seems so far away.
This was the fourth different production of Rent I’ve witnessed and perhaps the most dramatically different. Art is a living breathing thing, it should keep evolving. While not all of the variations paid off, I appreciated that the Rent I saw in 2021 was very different from the one I witnessed in 1998. An elevated platform on the stage brought us the main action while supplementary action appeared just off to the side. Just like in real life, watching something occurring just off to the side added context: Maureen dancing intimately with male and female partners while Mark and Joanne delivered Tango Maureen” was especially effective. Using the pronoun “they” for Angel also made sense in the current climate; while Angel’s gender identity was never explicitly explained I think original creator Jonathan Larson would have been on board with its wokeness. Unfortunately, the pronoun wasn’t used consistently though, so it didn’t have quite the impact it might have. Most people wouldn’t have noticed a little lyric change in “We’ll See” but, for my husband and me, it seemed jarring and unnecessary. I really appreciated the extended jam and dancing before “Seasons of Love,” which made Act Two’s opening number seem more organic. While the song’s lyrics always resonate, its staging is all too often a little stilted.
The characters from Rent seem like old friends to me, so it’s interesting watching others slip into the roles. While the community theatre production I saw a couple of years ago had some standout performers, this production’s cast was consistently outstanding. I’ve never seen a more effective Angel than Seann Miley Moore. His performance blew me away. Tim Omaji was also so impressive as Benny. I really appreciated this production expanded the role a little and let Tim show off his dancing chops. Monique Salle was delightfully unhinged and endearing as Maureen. But there were a few missteps for me too. While Mat Verevis was commanding as Mark, he seemed too confident and cool for this character. He’s supposed to be an anxious nerd, not the handsome guy with flowing locks. The chemistry between Seann Miley Moore and Callum Francis was perhaps the most compelling I’ve seen between an Angel and Collins. However, Collins has always been a tenor. The songs didn’t quite sit right in a higher register, and I missed the contrast between their tones.
Despite some missteps, Rent is a little like pizza; it’s always good. And right now, at a time when so much of the world feels fractured, it was the perfect show. As the lyrics of “What You Own” say, this play is really about “Connection in an isolated age.” As this pandemic continues to play out, feeling that connection with artists and an audience felt pretty special.
Image source: own photo
