By David Gordon, Entertainment Editor
Credit director Alan Souza for crafting a production of Jonathan Larson’s “Rent” that exceeds what was seen on Broadway for twelve years. It’s not that the Broadway production, directed by Michael Grief, was bad, per se, it’s just that Souza’s staging, at the John W. Engeman Theater at Northport through November 1, manages to make the show, which in a variety of ways seemed confusing on Broadway, crystal clear.
Larson never lived to see the worldwide success of his rock adaptation of Puccini’s “La Boheme.” Few changes were made to the material after his untimely death, the day the show began previews at the New York Theatre Workshop. “Rent” definitely deserves the place in musical theater history it occupies, but I’ve always found the piece to be occasionally muddled, no thanks to Grief’s legendary abstract production.
Souza’s is totally different from any other “Rent” I’ve seen, especially in terms of character development. For once, there is a clear-cut relationship between Mark, the aspiring filmmaker (played by Stanley Bahorek through September 27) and Maureen, the lesbian performance artist (Betsy Morgan).
“Without You,” a number that, on Broadway, found the drag queen Angel ill in a hospital, now finds Roger (Mike Backes) also in a hospital, being sung to by Mimi (Lakisha Anne Bowen). “Tango: Maureen,” a duet between Mark and Joanne, Maureen’s lover, now finds Maureen in the background, dancing a tango (choreography is by Karl Christian) with a man and woman (a la the film).
In general, the voices in this production are far less grating and far stronger than the ones immortalized for all time on the best-selling cast album. Bahorek is an appropriately conflicted Mark. Morgan is wonderful as Maureen in a Sandra Bernhard mold. Reymundo Santiago’s Angel, in the outrageous costumes by Johnny Davenport, brings down the house.
Though the strengths of this production outweigh the weaknesses, it still doesn’t manage to make the show’s ballad-heavy second half seem less interminable than it usually is. Mimi’s death at the very end unintentionally plays far funnier than it should, as she shoots up back to life from being dead.
I appreciated that the set (designed by Todd Ivins) was more than just a massive trash-heap; the design was realistic. The only problem is that the back wall, plastered with newspaper, has a small, but noticeable advertisement for “District 9” on the left side.
Diehard “Rent” fans (or “Rentheads,” as they’ve been affectionately nicknamed) should make their ways to Northport for this reimagining of their favorite show. Chances are, they won’t be disappointed.