Rent worth the cost

By Kensey King     10/29/09 7:00pm

Not many musicals carry the lofty expectations of Rent. A 12-year run on Broadway and a subsequent Hollywood butchering have placed the play firmly in the American pop- consciousness, and the play brings a cast of memorable characters and strong voices. These factors might be enough to intimidate most directors, but Jones College sophomore Hermione Gilpin and Jones junior Helen Shaw are not among them. However, the North College Theatre Association, a collaborative effort pooling the resources of Jones, Baker College and Martel College theaters, may have accepted the challenge of Rent a bit too prematurely. While the production lifts upward, it falls short of jumping "Over the Moon."

Rent, written by Jonathan Larson, chronicles the lives of eight East Village residents and their corresponding struggles with AIDS, the fear of death and the loss of loved ones. The story starts on Christmas Eve and jumps sporadically through the year, with the main narrative conflict occurring within the relationships of couples Roger and Mimi, Joanne and Maureen, and Angel and Collins.

The selection of the Martel Commons for the production, especially with the availability of Jones College and the new Baker-Duncan Commons, remains a puzzling choice, as the space presents many constraints. The use of differently elevated levels and balconies aids with fluid scene transitions and keeps the play moving, but also detracts from the show when the company scatters around to each level.

---

---

Fortunately, a strong, solid orchestra - or band, in this case - makes up for the staging struggles. The lively jazz quartet, directed by Hanszen College senior Peter Denton, a pianist, brings great energy and a contemporary feel to the production.

But while the band rocks the house, they also manage to drown out a good amount of the singing. The Martel commons, balcony and all, fails to be an acoustic utopia. During the majority of Act I's numbers, the band blocks out the singing, even when the actors stand a mere two feet from the audience. This greatly inhibits Rent from being a strong production, and if the audience lacks any prior knowledge of the storyline, confusion and frustration will undoubtedly abound.

This is a shame, because the two leads do all they can to steal the show with their outstanding performances. First, Ryan Frenk shines as Angel Dumott Schunard, a transvestite who takes gay anarchist Tom Collins under her wing. Angel's role demands depth due to her large impact in the company's life, and Frenk digs just deep enough. A University of Houston freshman, Frenk wows the crowd with his athleticism, stage presence and angelic voice. The only downfall of his performance, besides the fact that he presents the talent of UH and not Rice, comes in his first song, "Today 4 U," when he is accompanied by a recording instead of by live music.

Angel's lover, Tom Collins, is deftly played by Jones senior Alex Lambert, who keeps pace with Frenk. The homosexual relationship between Collins and Angel appears too complex for Lambert at first, but that disappears as he confesses his love with "a thousand sweet kisses." The booming voice and depth of character make Lambert the bass powerhouse of the play.

Although their voices please the ear, the two lesbian lovers Maureen and Joanne fail to enliven their passionate love affair. Hanszen College senior Katherine Threlkeld rightfully comes across as stereotypically over-the-top bohemian Maureen. Her witty monologue gives the show some good fun, humor and laughs, but her lover, played by Martel senior Aubrey Sansing, fails to match the depth of her character. Joanne startles the audience with her sultry voice, but lacks the passion required for the role.

Rent centers around the bromance of Roger, a punk-rock AIDS victim, and Mark, an awkward, aspiring director. Take Charlie Brown and give him a camera, and you have Mark's character. Eric Doctor, a Lovett College senior, portrays Mark's awkwardness and loneliness splendidly. His only weakness lies in his attempt to overcome the band by projecting more, not always on key. Meanwhile, Brown College senior Chris Tzeng delivers a solid performance as Roger, impeccably capturing the rocker persona and nailing the underlying anger of one of the play's leads.

Roger's counterpart, Mimi, a young girl lost in the world of drugs and sex, is played by Baker College sophomore Tracey Isidro. Mimi storms into Roger's life asking him to "light her candle," but the candle between Isidro and Tzeng never stays lit. The passion feels forced and unnatural, though Isidro ventures far outside of her sweet, bubbly personality to bring out her inner vixen with power. "Out Tonight" stretches Isidro's acting capabilities, but she struts up, surprisingly, to the challenge with her high hooker boots and erotic dance.

To round out the leads, Baker senior Will Parell embodies Benny Coffin III, the financial worrier of the group, and pulls off the part quite well. His portrayal adds a measure of entertainment and succeeds in establishing him as the bohemian clan's softie.

The cast brings their talent to the table, but songs such as "Out Tonight" and "Tango: Maureen," those that aim to wow the audience with background dancers, hurt more than help. During the songs, the spotlight moves away from the main eight, detracting from the audience's focus on the actual scene.

Still, some routines - including "La Vie Boh?me," the best number of the play - sparkle with energetic choreography. The talent of choreographers Tatjana Crossley and Michelle Nguyen, both Hanszen College juniors, shines through on these numbers, remind ing audience members why Rent was the seventh longest-running play on Broadway.

The company, small but strong, gives the show good energy and flexibility as most of them carry three or more roles throughout the show. The rendition of "Seasons of Love" takes flight but cripples itself as the two famous and awe-inspiring high notes are cut from the score. "La Vie Boh?me," however, rises to the occasion as the company dances and sings with complete ease and merriment. This song saves the first act and gives the audience a reason to stick around for more.

For a first-time production of the NCTA, Rent lands as a near success. Overall, the leads and company are strong and stable. And while the technical issues of lighting and transitions pose a few small problems, they are more than outweighed by the musicality of the cast and pit. Some of the strongest songs fade in power and quality as the audience must strain to hear, but Rent represents a solid first effort for the NCTA.

---