REVIEW: RENT Broadway Tour Measures the Love at OCPAC (Ends 10/25)

ORANGE COUNTY, CA—Has it really been 13 years since RENT first arrived on Broadway? As soon as original cast members Adam Pascal and Anthony Rapp make their entrance on stage to start the current "Broadway Tour" production (playing through October 25 at the Orange County Performing Arts Center), the audience erupts into deafening screams and howls, almost as if this was not a musical play but, rather, a rock reunion concert. In some aspects, it is. We've got two original members of the "band" coming together on the road, singing familiar hits...a little older—perhaps a little wiser—and getting the royal rock treatment, even before a single lyric is uttered.

Relatively young compared to other "classics," the show is looking a bit dated, despite the fact that its 90's-bred book and lyrics are still as powerful and eerily resonant today. The late 90's seemed like so long ago; before color-coded terror alerts, Miley Cyrus, and the Fox News channel. But when creator Jonathan Larson's first 525,600 minutes (and beyond) played out to a rapt audience, the world stood up and took notice. Who knew that his portrait of fringe life would be so warmly embraced upon arrival, and that—even more than a decade later—its themes still hit home? Today, unemployment rates are high, families are in dire financial straits, and distrust for "the man" and selling out is once again "in." Then again... when was it ever "out?"

In this version of the tour (directed by Michael Grief, who also took the reigns of the original Broadway production), not much has changed from Larson's groundbreaking, Tony® Award-winning, Pulitzer Prize-winning rock opera that first opened on Broadway in April of 1996 and just closed in September 2008 after 5,123 performances. Based very, very loosely on Puccini's La Bohème, the musical takes place in New York's Lower East Side, where we find roommates Roger (played by a lived-in Pascal, sounding older and raspier) and Mark (Rapp—who, dare I say, hasn't aged much) struggling with creative and financial crises on Christmas Eve. Their friend, teacher Tom Collins (a superb Michael McElroy), is downstairs getting mugged. Luckily, he is aided by street drummer and master gender-illusionist Angel (Justin Johnston, the show's absolute standout). Both learn that they are HIV-positive and are thoroughly smitten with each other. Mark and Roger's former friend and current landlord Benny (Jacques C. Smith), in the meantime, is demanding the rent. Benny agrees to conveniently forgive the owed money if the two help curtail the planned protest gathering by the neighborhood's artist and homeless denizens, being organized by Mark's ex Maureen (Nicolette Hart).

Back at the loft, as Roger tries writing "One Great Song"—he hasn't left his apartment in six months, haunted by the suicide of his ex-girlfriend who "gave" him AIDS—in slithers their downstairs neighbor, exotic dancer Mimi (Lexi Lawson). Roger is entranced, but is turned off by Mimi's seemingly "addictive" personality. Mark, on the other hand, finds strength to help his ex Maureen's current girlfriend Joanne (Haneefah Wood). In between, the audience is taken to the many corners of life in the Alphabet City, from an HIV-positive group meeting to the post-protest celebration of "La Vie Bohème" at the Life Café. All the while, the characters all struggle often with the demands of a capitalist society working against their wishes and desires to live the artists' life (a life that includes a few breaks for a dose of AZT).

Though showing its age in its set, staging and thematic elements (after 13 years, it now sits on the awkward cusp of nostalgia and edginess), Larson's masterpiece still carries with it an emotional wallop—especially watching it now, during these harsh times. The show, though a bona fide, worldwide hit, is far from perfect. The show famously had the disadvantage of losing its creator Larson so suddenly (he died at the age of 35 of an aortic aneurysm—literally overnight, after the show's final off-Broadway dress rehearsal). It would be easy to speculate that many jumbled, chaotic scenes (including most of the second act) would have been fixed by Larson before its inevitable transfer to Broadway.

But there are plenty of moments of true, undeniable brilliance. Standout numbers include Joanne and Mark's revealing (and hilarious) duet dance in "Tango: Maureen" and the sweet duet between Angel and Tom in "I'll Cover You." The beautiful harmonies in "Will I?" and the repeated refrains of No Day But Today in the support group scenes still induce tears. The power and effectiveness of "Seasons of Love" as a singular song is still one of Broadway's best musical compositions (in the latter, Gwen Stewart—also a member of the original Broadway cast—does an excellent show-stopping solo).

Pascal still sounds great as Roger, which he doesn't play with the disposition of a restless young searcher, but rather with a mature, been-there-done-that attitude. This life exhausts him and he just wants to write great songs, fall in love with the right girl, and survive his disease long enough to enjoy it all. Rapp, looking only slightly older than the Mark he played in 1996, injects some maturity in this new, less snarky, more admirable performance as well. McElroy's soulful, dignified portrayal of Tom Collins is a magnificent counter-point to Johnston's Angel, the drag-queen with a heart of gold (unless your an Akita named Evita). Their relationship is the one you want to root for, which is all the more devastating when things don't go so well later on in the second act. Johnston inhabits his role not only with a wonderful sense of sweetness, whimsy and playfulness, but in his acrobatic solo "Today 4 U," he also proves himself a fantastic dancer with the singing pipes to match. McElroy's heartbreaking reprise of "I'll Cover You" is still the most moving moment in the entire show.

While fantastic in "Out Tonight," Lawson's uneven vocals in some numbers are a little disappointing. Smith's portrayal and vocals as Benny is slightly underwhelming. Hart's Maureen (a role that garnered Idina Menzel a Tony nomination back in 1996) is fun and spunky, which is an interesting—if unusual—choice. She would make a great Glinda in Wicked or Elle in Legally Blonde.

RENT, for all its popularity, imperfections, power and artistry, its significance in Broadway history is palpable. There is no doubt that shows that "think outside the box" like Spring Awakening, Rock of Ages, or even Avenue Q owe much of their very nature to this trailblazing musical that still spawns fanatic "Rent-heads" throughout the country. Some even credit the show for introducing same-day cheaper-priced rush seating (a stipulation Larson and producers insisted be included in every production). The cheers are still loud and the lyric chanting is still rampant after 13 years. Thanks to the tour, audiences can experience it for themselves, with a couple of familiar faces singing on stage. Bohemia isn't dead, it's just a bit more mature.

Grade: B

Photos by Joan Marcus: Top - Anthony Rapp, Lexi Lawson and Adam Pascal. Middle - Justin Johnston.

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Tickets to RENT: THE BROADWAY TOUR featuring Adam Pascal and Anthony Rapp continue through October 25 at the Orange County Performing Arts Center. Tickets are $20 – $80 and are available online, in-person at the Center’s Box Office at 600 Town Center Drive in Costa Mesa, or by calling (714) 556-2787. For inquiries about group ticket discounts for 15 or more, call the Group Sales office at 714.755.0236. The TTY number is 714.556.2746. The 2 p.m. performance on Saturday, October 24 will be sign-language interpreted.

$20 Front Row Seats Available

Seats in the front two rows of the orchestra will be made available for just $20 for every performance. The $20 tickets go on sale at the Center's Box Office on the day of each performance only, two hours prior to the show and are available to anyone, cash only, with a limit of two tickets per person (subject to change due to demand). The tickets will be distributed two hours before curtain on a first-come, first-served basis to those in line. The available seats are in two rows of chairs that have been set in front of the first rows of the house.

"In keeping with the spirit of the show and the vision of Jonathan Larson (the show's creator) we are happy to be able to offer prime seats to people who otherwise would not be able to purchase them," explained original RENT producer Kevin McCollum. "Jonathan was himself a struggling artist and his dream was to create a universal piece of musical theatre that’s available to everyone."

Visit www.ocpac.org for more information. For more information on the national tour, visit siteforrent.com.