Market Theatre Production of "Rent" Electrifying
By Paul Hyde/Anderson Observer
Do you feel the tremors?
The Market Theatre’s “Rent” really is something of a cultural earthquake in Anderson County, rocking this conservative community with a bracing message of tolerance, inclusivity and joyous personal freedom.
This production of Jonathan Larson’s 1996 musical ranks as a bold, gutsy statement in this regressive political year.
Musically and dramatically, this staging is a shining achievement for the Market Theatre. The cast delivers the show with unbridled energy and passion.
Larson’s “Rent” updates Puccini’s opera “La Boheme” from the Latin Quarter of Paris to New York City, with young artists and musicians struggling to survive in the Lower East Side under the shadow of HIV/AIDS.
At the center of the story are the guitarist Roger and club dancer Mimi. Swirling about this core are other bohemians seeking love in an unkind world of crime, poverty, addiction, intolerance and soul-crushing materialism.
Those obstacles are no match, however, for the bohemians’ zeal for self-expression and roaring devotion to carpe diem.
Christopher Rose’s direction is both fluid and meticulous, endowing this production with an irrepressible spirit and momentum.
The propulsive loose-limbed choreography by Vaughn Newman and Mary Haley Thompson gives the show added oomph and vitality.
The cast is terrific. Bre Jeter’s Mimi has a honeyed voice, and offers a sizzling “Out Tonight.”
Tim Spears plays the role of Roger with angst and ardor, singing a heartfelt “One Song Glory.”
Noah Taylor, the executive artistic director of Market Theatre, is an earnest and sympathetic Mark, the budding filmmaker.
Drew Whitley brings an appealing warmth to the role of the anarchist professor, Tom. His poignant account of “I’ll Cover You” is heartbreaking.
Dee Werts plays the drag queen Angel with zest and flamboyant aplomb.
E. Lauren (Maureen) and Kelseigh Redmon (Joanne) soar mightily in their showstopper “Take Me or Leave Me.” That duet, the vocal highlight of the entire show, packs a wallop.
DeAndre Presley offers a deft contribution as the yuppie Benny Coffin.
In ensemble numbers, the entire group produces a magnificent, full sound. Julie Florin is responsible for the polished music direction.
Kelsey Crews’ costumes strike the right bohemian tone.
The Market Theatre’s former industrial space is a well-nigh perfect setting for “Rent.”
The recorded music tracks serve the show well, though I thought the music and vocals occasionally could have been pumped up a bit.
A small quibble: On the night I attended, some of Larson’s words were not ideally articulated.
Theatergoers should note: “Rent” contains strong language and is intended for mature audiences only.
The Market Theatre, much to its credit, continues to build on the legacy of the late stage director Pat Shull who mounted provocative productions of “Cabaret,” “Chicago” and others at Electric City Playhouse in the late 1990s and early 2000s. These edgy stage productions broaden our minds and enlarge our hearts.
Four performances remain of this dynamic, go-for-broke staging of “Rent,” Nov. 11-14. For tickets, visit markettheatre.org.
Paul Hyde, a longtime journalist and English professor, writes about the arts for the Anderson Observer.