Katherine Walker as character Maureen Johnson, front, performs a scene in the Durango Art Center’s production of “Rent.” The ambitious Broadway musical with a cast of 15 was adapted to the local stage by director Theresa A. Carson. The play opens this Thurs., Aug. 27, and runs weekends thro­ugh Sept. 27./Photo by Jennaye Derge

Rent comes due at DAC

Iconic rock opera takes to local stage

by  Stew Mosberg

Many readers know that the 1996 Tony Award-winning play “Rent,” as well as the 2005 film version, is loosely based on the Puccini opera “La Bohème.” Yes, both have starving, down-on-their-luck artists, love, tragedy and lots of songs – but the similarities stop there.

The Jonathan Larson musical debuted on Broadway at a time when the AIDS epidemic was still raging, but while the scourge has a pivotal part in the narrative, it is not the focus of the story.

Asked if the play was still relevant, DAC Theater Director Theresa Carson said the underlying theme is one to which almost anyone can relate. “(‘Rent’) is not about AIDS, it’s about living in dangerous times, learning how to survive,” she said. “It’s about bonding together, reaching out; it’s about compassion and kindness.”

Thematically, the story takes place in a loft on New York’s Lower Eastside in 1991 and revolves around a group of destitute but creative friends battling to survive while seeking success and acceptance. The title is derived from the problem faced by the tenants who were promised free rent when one of them marries the landlord’s daughter. However, after going to work for his father-in-law, the character Ben Coffin (played by Aaron Bishop) reneges on the offer.

Presented as a rock opera, “Rent” contains more than 40 musical numbers and a cast and company of 15. Finding the talent for such an endeavor would be difficult anywhere, in Durango it is a major challenge, but Carson remained positive and took a gamble. She cast some actors she knew and discovered others she didn’t, who came from Farmington, Bayfield and Bloomfield, as well as a few with limited stage experience.

“It is a joy to see actors blossom and it’s amazing to watch them rise to the occasion when given a chance,” she said.

“Rent” differs from “La Bohème” in that the Puccini version is about heartbreak and dying whereas the former is about hope in the face of death. A small, but significant distinction, according to Carson.

The action of the play takes place in a cavernous loft and to achieve the appearance, the side curtains were removed and the backstage and wings of the tiny Panelli Theater made visible. Platforms, stairs,4  and ladders extend off to the side of the stage. The multiple levels are an integral part of the story and action. Several key numbers take place there, most notably Mimi Marquez’ strip club routine. Portrayed with sex kitten acumen and charm by Kristen Brewer Sitter, hers is an inspired performance throughout. 

The stairway plays another important role in the second act of the two-act production, when transvestite Angel Dumott Schunard, performed by Scotty Howard with seductive wit, ascends ethereally upward, draped in white sheets. Early in the play, Howard’s second entrance dressed in striped hose, staggeringly high heels and a red Santa top costume (by Kestrel Chaney) is pure, creative fun.            

Although Carson remarked that the play is suitable to audiences of all ages, the main themes may be a bit too intense for the younger set. The focus of “Rent” continues to be the love stories of its characters and their daily struggle to get by. But there is also gay love, drugs, a transvestite and AIDS. Conversely, with its rock score and themes of rebellion and independence, “Rent” will obviously have an appeal to teen-agers.

“Certain shows resonate differently with you at different times in your life,” said Carson. “For me, ‘Rent’ is one of those plays.”

Her comment was mirrored by Benjamin Mattson who plays Angel’s love interest, Tom Collins. “This show came out when I was in high school,” he said. “As a teenager dealing with feeling like I didn’t fit in, wanting to be an artist in the face of making more practical choices, and coming to terms with my sexuality, ‘Rent’ spoke to me in a very profound way.”

Mattson went on to say that as an adult, the show speaks to him differently, but still “contains morals and threads of truth that have impacted me deeply since we’ve started rehearsing the show.” Mattson’s Collins is an extremely likeable, strong presence on stage, and he sustains credibility throughout his performance.

Sadly, because the cast is so large, it is difficult to pay tribute to all the superb performances. That said, perhaps the most dynamic performance of the evening is rendered by Dave Mensch, whose well-known professional singing and guitar playing is matched by his powerful interpretation of Roger Davis, Mimi’s object of affection.

Paul Arthur Stewart III as Mark Cohen, the play’s would-be narrator, left, and Dave Mensch, as Roger Davis, perform ”Tune Up A” during the first scene of “Rent.” Nearly the entire play is conveyed in song./Photo by Jennaye Derge

Paul Arthur Stewart III acts the role of Mark Cohen, the play’s would-be filmmaker and narrator; it is a tour d’force performance.

Jenny Fitts Reynolds is Joanne Jefferson the love interest of Maureen Johnson, played by Katherine Walker, who happens to be the subject of “Tango Maureen” – one of the show’s best musical numbers. Reynolds does a most admirable job as Joanne and Walker. Her Broadway style voice and stage presence will captivate the audience.

At times, all 15 cast members are on stage and in spite of the limited space, choreographer Suzi DiSanto made it work; no simple task. The sound system of the DAC continues to plague productions, particularly one as lyric intensive as “Rent.” Almost the entire show is song, so dialogue and content can be lost due to the acoustics. Even though all the performers wear body microphones, not everyone’s voice was seasoned or strong enough and some consistency is lost as a result. Considering the limited talent pool Carson had to choose from and the “give it your all” performances, it is easily forgivable and the show is great entertainment.

Perhaps Mensch summed it up best. “Durango you are in for a surprise,” he said. “This play still captures some of society’s struggles to deal with acceptance of yourself and others. A beautiful award winning musical that breaks hearts, mends them, and inspires hope and love. We strive to be an organic community and when it comes to theater, this is as organic as it gets!”