AIDS, Anarchy, and Survival — A Review of "RENT" at The 5th Avenue Theatre

When Jonathan Larson's rock musical RENT debuted at the New York Theatre Workshop in 1994, it brought the subject of HIV/AIDS to the stage. That was the same year during which approximately 49,600 Americans died of this disease. Four of the principal actors in Larson's cast had been diagnosed, with effective medications still two years away. Even as they acted and sang, they faced death.

Mark (Daniel Berryman) and Roger (Aaron C. Finley) in RENT at The 5th Avenue Theatre.
Photo: Tracy Martin

That kind of relevancy in a time of intense fear and moral judgement led to the spectacular success of RENT and the Pulitzer Prize for Drama it won the following year. It quickly reached the heights of acclaim, and Broadway, where it ran until 2008. Now Seattle's 5th Avenue Theatre presents a revival of RENT July 21 through August 19 and this begs the question of whether or not people still care about its original themes.

 

 

Producing Director Bill Berry believes they do. He wants to give viewers the profound experience he had when he saw it decades ago. RENT still tells the story of a group of young artists, writers, actors, and musicians—some straight, some gay—living a Bohemian lifestyle in an abandoned building in Manhattan's Lower East Village during the late 1980s, the height of the AIDS epidemic. The story begins on Christmas Eve. They still have no heat, still can't pay the rent, and face eviction, even while many of them are weakened by the disease. It's a relatively simple plot but holds powerful messages.
 

The cast and director of RENT at The 5th Avenue Theatre: Jerick Hoffer (Angel), Aaron C. Finley (Roger), Bill Berry (director of RENT), Naomi Morgan (Mimi), and Daniel Berryman (Mark).
Photo: Mark Kitaoka

"Rent is the musical that defined a brand new generation of theatergoers and has since become an anthem of youth, vitality, and rebellion," Berry said in a press release. "But more than anything, this is a musical about survival and about embracing every moment as thought there will never be another. I think that's why it has such universal and timeless appeal."
 

The company of RENT celebrates “La Vie Boheme” at The 5th Avenue Theatre.
Photo: Mark Kitaoka



Berry didn't need to worry about relevancy when he directed, with such perfection, the delightful musical First Date—which debuted at A.C.T.—A Contemporary Theatre in April 2012, a co-production with The 5th Avenue. Everything about that smart, witty and very current comedy guaranteed a hit. But in some ways, RENT is just as current. HIV/AIDS hasn't gone away. Neither has the rebelliousness and risk taking among our nation's youth. And the idea of young lives being cut short remains as tragic as ever.

In these days of the Occupy movement, high unemployment, deep divisions in politics and ideologies, and a general sense of frustration, we find ourselves surrounded by evidence of the gaps between rich and poor, culture and counterculture, young and old, the powerful and the powerless, government and anarchy. That evidence pervades our national consciousness.

Mimi (Naomi Morgan) and Roger (Aaron C. Finley) in RENT at The 5th Avenue Theatre.
Photo: Mark Kitaoka

Beyond the important themes, this presentation's artistic merit makes it well worth the price of a ticket. I loved the dramatic lighting which added so much ambiance to the sets, both so suggestive of life in a loft. I applaud the costume designs and choreography. Casting choices included the liberal use of amazing talent of an appropriate age, much of it local, giving Rent the "youth and vitality" of which Berry says the musical has become an "anthem."

Aaron C. Finley as Roger in RENT at The 5th Avenue Theatre.
Photo: Mark Kitaoka

Those strong young voices met the demands of the score, generally speaking, and with exceptional power and poignancy in some cases. In both singing and acting, Aaron C. Finley, as Roger Davis, and Naomi Morgan, as Mimi Márquez excelled, especially on Davis' One Song Glory and their shared performances on Light My Candle and Without You. In the story, both characters suffered from AIDS, and Mimi from addiction, meaning they knew they had little time together, even as they fell in love.

In spite of that drama, I could not romanticize these young characters to the degree some might.  Although I appreciated both their desire and their right to pursue the artistic life and be true to who they were, at times, my practical side wanted them to quit defying convention, grow up, take better care of themselves, and find more security for their own sakes. But the tragedy of their lost futures moved me deeply, not only as a human being with compassion, but also as a parent.

And that brings up one of several problems. I could not relate to the characters representing the parents, all of whom seemed terribly stereotypical and shallow  in the intermittent "voice mail" segments. Whereas I would normally appreciate the contrast between seriousness and humor, in this case the humor often came across as just plain silly and superfluous, adding extra bulk to a production that bogged down at times during its three long hours. In addition, those three hours contained too many moments that seemed like dramatic climaxes, but weren't. By the end, I felt at least as drained by the length and intensity as I was appreciative of the messages. But the acting and singing deserve praise.

Mark (Daniel Berryman), Collins (Brandon O’Neill), and Angel (Jerick Hoffer) in RENT at The 5th Avenue Theatre.
Photo: Tracy Martin

Charismatic young Jerick Hoffer, as the transvestite, Angel, and Brandon O'Neill (one of my favorites from First Date, Saving Aimee, and Guys and Dolls) as Angel's lover, Tom Collins, both gave excellent performances. So did Daniel Berryman, as the young videographer Mark Cohen, and Ryah Nixon and Andi Alphadeff, as the Lesbian couple, Maureen and Joanne, respectively. Logan Benedict made a great Benjamin Coffin III. All of the many "East Villagers" in the cast did an excellent job, but I wished I could have seen and heard Heath Saunders in a major role. There is something about his expressive face and wonderful voice that make him stand out as a magnetic presence on the stage.

Angel (Jerick Hoffer, center) and the company of RENT at The 5th Avenue Theatre.
Photo: Mark Kitaoka

From the moment I first saw the young Bohemians living the life of squatters in a vacant building, I felt sad and a bit depressed because I knew the dreams of many would turn out to be illusions, especially in the face of the epidemic. But I enjoyed their moments of laughter, sense of unity, and their youthful energy. And I appreciated the reminder that life is often harsh, always too short, and filled with human frailty that requires our compassion. Most of all, this story communicated the power of love to quell hopelessness, the different ways people find to connect and survive, and the importance of each day of our lives. In that respect, this revival of RENT is a great victory.


Tickets start at $29.00 and can be ordered by phone at (206) 625-1900, at the box office at 1308 5th Avenue in Seattle, or online through the online box office.

"ALADDIN" Makes Magic at Seattle's 5th Avenue Theatre

Adam Jacobs as Aladdin                Credt The 5th Avenue Theatre

If you could rub a magic lantern and ask the genie for three wishes during an evening of musical theater, including 1.) a visual feast of color, costumes, and interesting sets 2.) memorable tunes, fine voices, and well-crafted choreography, and 3.) plenty of laughs and lighthearted fun, I guarantee they would all be granted at The 5th Avenue Theatre's production of "Aladdin" in downtown Seattle. Once again, the city can be proud of a brand new home grown musical, this time adapted from the Academy Award™-winning Disney animated film by the same name. It packs plenty of talent and Broadway ambitions.

"New musicals have become a large part of the mission of The 5th Avenue Theatre and we are thrilled that Disney has selected our theatre to produce the premiere of this new work," Executive Producer and Artistic Director David Armstrong said in a press release. The musical's director, Casey Nicholaw, comes fresh from his Broadway success with "The Book of Mormon."

"I am especially thrilled," Armstrong added, "to have Casey Nicholaw back at The 5th where his amazing career first got started." Nicholaw launched his profession as a choreographer at this theater in 2001, on "The Prince and the Pauper."

James Monroe Iglehart, as the Genie, takes center stage.   Credit The 5th Avenue Theatre

I never saw the 1992 Disney film, but this production contains many of the same magical aspects of Disney animation I loved as a child. Of course it has the handsome hero, beautiful princess,  the funny sidekicks, crazy antics, and the most elegantly evil villain of all, Jafar, played by Jonathan Freeman of Broadway fame, who also provided the voice in the original film.

And it has COLOR. Oh what color! Beginning with a curtain that looks like a patchwork of brilliant Persian carpets, then lifts into a stage-framing drapery of appropriate design, the whole production offered a jewel box of rich, vivid, delicious color with the added indulgence of sparkle, shimmer, and shine. I thought the cleverly designed sets worked well as they changed functions, and the whole thing felt extremely professional.

Aladdin, played by Adam Jacobs,  delivered his songs with power, confidence, and sensitivity, danced and leaped around the sets with remarkable agility, in a costume for which he was particularly "suitable" with his sculpted torso revealed under an open vest. Courtney Reed, as Princess Jasmine, brought her own storybook beauty to the stage and put her lovely voice to its best use in the more touching scenes. The culturally shocking insubordination of this princess who revolts against her father (Seán G. Griffen, perfectly cast as the Sultan) lacked believability, but so did the fake camels, the flying carpet, and the sword fights, without taking anything at all away from the fun of this engaging show.
 

Credit  The 5th Avenue Theatre

The inevitable funny sidekicks, in this case, Jafar's companion Iago—played by Don Darryl Rivera— and Aladdin's fellow street musicians—played by Andrew Keenan-Bolger, Brian Gonzales, and Brandon O’Neill—provided plenty of laughs, sometimes corny, but so what? Their talent came through, and it was all part of the charm of a production that doesn't pretend to be sophisticated, yet succeeds by being outlandish, clever, and highly entertaining. There is even a moral to the story.

Music Director Michael Kosarin can be proud of the orchestra for its flawless performances of about 15 tunes. My two favorites, both newly written for this production, were "A Million Miles Away" and "Somebody's Got Your Back."

But wait a minute! The story of Aladdin and the moral dilemma caused by his three wishes, could never have existed with the GENIE, brilliantly portrayed by James Monroe Iglehart. The appearance of this charismatic character really did feel like magic, immediately lifting the show's entertainment value up by several notches as he radiated irresistible energy, humor, and charm. His character even took us through some poignant moments, which Iglehart navigated with finesse.

I may not be qualified to play the role of a serious theater critic, in the eyes of some, but in the role of an average theatergoer, I know that I thoroughly enjoyed myself. Looking around at the happy faces in the audience, and hearing people's comments, I'd say virtually everyone else there that evening did too. One thing is certain; the talented cast gave it their all through every song and dance. I came prepared not to play theater critic, but just to play. Come to have fun, and I guarantee you will too.

This world premier lasts only through July 31, so don't miss the chance to catch one of these last eight performances. Click here, right now, or call (206) 625-1900, to order tickets and you'll be sure to make some memories for your family, or relive some of your own.

"Guys and Dolls" Dazzles Audiences at the 5th Avenue Theatre

Ensemble - Photo Credit: Chris Bennion

Last night as I sat in the audience at Seattle's 5th Avenue Theatre, the three-story-high words "Guys and Dolls" spelled out in lights, the bright colors, the cleverly designed sets, and the irresistible pulse of music and human movement all combined to emblazon this thought on my brain: "If I could live my life over, I would spend my youth training for musical theater so I could be up there on the stage right now, having all that fun." 

Who would not want to be part of that synchronized energy? As a jazz musician* I have some understanding of how those dancers feel. I love ensemble work, rhythm, and syncopation. But in this life at least, I will have to accept the fact that I'll never become a star in a musical, singing my heart out, arms and legs caught up in the beat. It may be too late for that, but I can still have the next best thing: a night at the 5th Avenue.

It's amazing how intimate an auditorium with 2,115 seats can feel. I've watched shows from various spots, always awed by the grandeur and majesty of this place, but this week my balcony seat offered a different sensation. I could better appreciate the entire space from that perspective and felt embraced by the warmth and texture of the sculpted ceiling and walls, features of the Chinese decor of this  historic theater that first opened in 1926. It is now considered a national treasure. Sitting just that much closer to the famous dome—exactly like the one in the throne room of the Imperial Palace in the Forbidden City in Beijing, only twice as large— I could look right into the dragon's eyes. I could see in more detail, the massive chandelier suspended from the grip of his teeth. A huge Wurlitzer pipe organ once accompanied Vaudeville shows in this theater, and I could imagine getting a glimpse of the pipes hidden behind the ornate screens on opposite walls.

Most importantly, I had a perfect view of the stage, even from the balcony. And there was plenty to see in that candy store of colorful costumes and crazy characters, whose exaggerated actions, accents, and antics imbued Frank Loesser's perennial  hit Guys and Dolls, with fresh energy.

Miss Adelaide (Billie Wildrick) and the Female Ensemble - Photo Credit: Chris Bennion

Director Peter Rothstein guides this production to its full potential and I especially appreciated the choreography of Seattle native, and Roosevelt High School graduate, Noah Racey, who returns to the Northwest after his brilliant success on Broadway. Other local talents enjoying well-deserved stardom include Clayton Corzatte, Daniel Levine, Brandon O'Neill, Billie Wildrick and Katherine Strohmaier. Also doing a great job were cast members David Alewine, Joshua Carter, Ross Cornell, Gabriel Corey, Sarah Davis, Bojohn Diciple, Christian Duhamel, Michael Ericson, Eric Esteb, Brittany Jamieson, Ann McCormick Allen, Trina Mills, Kasey Nusbickel, Katie Rooney, Jessica Skerritt, Mara Solar,and Dane Stokinger. I don't want to overlook the amazing pit orchestra made up of local musicians, who also deserved applause, as does every single person involved, including those behind the scenes.

Todd Buonopane, who played the part of Nicely Nicely-Johnson, is known to many because of his appearances on the hit TV comedy 30 Rock. His character stole the show many times. Watch him here singing "Sit Down, You're Rockin' the Boat."




With only a little over a week to go before the show closes, your chance of seeing this entertaining and memorable production could slip away if you don't reserve tickets now. It was well worth the trip from Tacoma and an evening parking rate of only $6 in the adjacent Hilton Hotel parking lot, didn't hurt a bit. Order your tickets online here, or call  (206) 625-1900. Don't miss it.

*http://jazzlives.wordpress.com/2011/05/17/truly-wonderful-the-rain-city-blue-blowers-may-7-2011/

Copyright 2011 Candace J. Brown