Review-Rent (9.8.07)

Rent (Saturday, 9.8.07)
Nederlander Theatre, New York, NY

By: Jonathan Larsen (book, music & lyrics), Michael Greif (direction), Paul Clay (sets), Angela Wendt (costumes), Blake Burba (lighting), Kurt Fischer (sound)

Starring: Adam Pascal (Roger), Anthony Rapp (Mark Cohen), Tamyra Gray (Mimi), Troy Horne (Tom Collins), Justin Johnston (Angel Schunard), D’Monroe (Benjamin Coffin III), Nicolette Hart (Maureen Johnson), Maia Nkenge Wilson (Joanne Jefferson)

When they appeared in the film version of “Rent,” Adam Pascal and Anthony Rapp came across as bland, tired and too old for their roles. Although enthusiasts liked that the original creators of the roles were cast in the movie, I was disappointed. It was a poorly directed film, and neither actor seemed properly cast for the screen.

So it was trepidation that I greeted the news that the two would return, after more than 10 years, to the original Broadway production. Over the years, I have been impressed with the parade of actors (some stunt casting aside) that have been chosen to inhabit these roles – the casting directors have chosen actors that most embody the youth and rawness that Pascal and Rapp brought to the original production. But after their tired performances on screen, I wondered whether or not these two actors had lost it, or at least had outgrown these parts.

Well, I needn’t have feared, for while these performances clearly are not the same performances delivered ten years ago, they are terrific nonetheless, layered and nuanced in a way that was simply not evident on the screen. It goes to show that film acting and live stage acting are not the same thing. These two demonstrate why they own the roles of Roger and Mark, why even after all of these years they seem to understand and embody the characters in a way that nobody else since has. To watch them onstage is to be captivated by the spirit of a remarkable piece of theatre that speaks to our generation in a way that no other musical does.

Adam Pascal is the magnetic center. In person, he doesn’t look a day older than he did when he was first in the show, and he still delivers his powerful rock tenor, which effortlessly cuts through the expanse that is the Nederlander Theatre. He doesn’t use it all the time – in fact, I was impressed by the degree to which he used more subtle vocalisms, particularly in the more tender moments such as “Without You.” But when he lets go full throttle – “One Song,” “Another Day” and the end of “In Your Eyes” -- it is a remarkable effect that cuts emotionally through everything.

This is not to say that Pascal's performance today is that same as his performance in 1996. Today's Pascal comes across as a little less raw and a little more knowing than when he was first in the show, and he manages to find a great deal of humor in the role, particularly in the first act. But in the second act, particularly after Angel’s death, Pascal’s Roger is troubled, emotional, and conflicted. It is a beautiful performance, understated at times, conflicted at times, and emotionally turbulent at times. As Rent is an emotional journey of a show, Pascal's performance is perfectly pitched to match the spirit of the piece.

Anthony Rapp is less magnetic than Pascal, though part of that is by design, since Mark is an observer. Rapp seems older and less energetic and more affected by what’s going on around him than other actors who have come later, and his more down-to-earth quality is welcome. Though other actors sing better than Rapp, few have been able to capture the observer quality quite like he does. Particularly given his chemistry with the magnetic Roger, Rapp’s return is welcome.

Joining the two veterans is a relative newcomer, Tamyra Gray, as Mimi. Gray is simply terrific. Though she doesn’t dance or move with the same ease as other Mimi’s, she sings the role perfectly, and her thin frail body often shakes with disease and heroine addiction that we know her character has suffered. She has great chemistry with Pascal, and when the two of them sing together, it is magical. She brings to mind the energy that Daphne Rubin-Vega originally brought to the role, and while she doesn’t quite scale those emotional heights, she is terrific nonetheless.

The remainder of the cast is very good. Troy Horne and Justin Johnston are well-paired as Collins and Angel, the former bringing a compelling emotional quality and Johnston dancing around the stage like only a true Queen with a capital "Q" can. The two together have great chemistry, and at times they manage to pull the attention away from Roger and Mimi – no small feat given the tremendous performances by Pascal and Gray. Johnston gets the most laughs, and makes his way through the difficult “Today 4U” number. And while he is not as natural as others in the role, he navigates the difficult second act well.

The let-down in the cast is the pairing of Nicolette Hart and Maia Nkenge Wilson as Maureen and Joanne. This is not to say that they are not passable or even solid in the roles, but they seem a bit off and are not quite believable as a couple. Hart is funny in “Over the Moon”, but her unusual upper range suffers when she gets to the more emotionally charged “Take Me or Leave Me.” Wilson fares better vocally as Joanne, but missing is the sexiness that other actresses have brought to the role.

The current ensemble is also a bit weak vocally, though in the end there are no major gaps. In fact, this Rent seems a little thinner both in terms of its sound and look. I almost was under the impression that there were fewer actors on stage, though it could just be that the lack of vocal power had a psychological effect on the viewing. Some bigger voices in the ensemble might help to keep things going at full throttle.

In the end, though, revisiting this classic with two of the key members of the original cast helps us remember Jonathan Larsen, the creator of this masterpiece who prematurely left us. It is almost as if Pascal and Rapp, who actually had the opportunity to work with Larsen on the show before his untimely passing, are channeling him, and reminding us all of the tremendous contribution that this man made to the history of musical theatre in such a short time. It is very sad to think of all the great works that he never had the opportunity to create – but at least we are left with this gem, that is Rent.