Until September 20th, Metro Theatre is electric with its presentation of Jonathan Larson’s RENT, the groundbreaking rock musical retelling of Puccini’s La Bohème set in New York City’s gritty Alphabet City neighbourhood during the late 1990’s.
Like its inspiration, RENT tells the story of a year in the life of a band struggling artists and performers, swapping the poverty and ‘consumption’ in the streets of Paris 1896 for the poverty and HIV/AIDS of New York 1996. At the time of its debut it sent shockwaves through the theatre community, changing the face of Broadway from the over-the-top lavish Andrew Lloyd Webber musicals to a new grittier, socially & culturally relevant rock-opera that exploded in popularity. More of a successor to HAIR than Phantom of the Opera, RENT changed how casting was done for theatre, seeking specific raw talent that fit the characters, which delivered the breakthrough roles for many of the original cast. RENT also introduced the concept of Rush Seats, and in doing so welcomed a whole new generation to the theatre.
In this Metro Theatre production, co-produced by The Mary Cleaver Group, director Shel Piercy, choreographer Shelley Stewart Hunt and creative team preserve the original production’s look and feel of the grimy, rough lives of the Lower East Side inhabitants and leads an excellent cast and company that can deliver on the 4-time Tony Award winning musical’s cultural impact. Musical director Sylvia M. Zaradic guided the on-stage band; Boyd Grealy, Sean Bayntun, Mark Richardson, Jane Millikenn and Monical Sumulong Dumas, to fill the theatre with the award-winning score.
Told through the lens of aspiring filmmaker Mark Cohen – a charming portrayal by Pier Francesco Marchi, who brings everything you could hope for to the character – as he captures the gang’s Christmas Eve and year to come for his potential documentary. Living in their Avenue B squat was recovering addict and aspiring musician Roger – Laren Steppler, bringing a truly rock edge to the voice of the character while still maintaining the intimate softness required for some songs – who is trying to write that one great song to leave as a legacy. Upstairs, lives Mimi Marquez – played with feline prowess by Nicole Laurent, who takes the audience (and Roger) on a roller coaster of emotions – a relapsing addict with HIV who works as an exotic dance at The Cat Scratch Club. Mark’s former girlfriend, Maureen recently left him for a new love Joanne, a true case of opposites attract, Maureen is the wild child rebellious performance artist while Joanne is a Harvard-graduate lawyer also trying to manage Maureen’s performances. Played by Paula Higgins (Maureen) and the production’s co-producer Mary Cleaver (Joanne) the duo embody their characters establishing the disparity between them while also finding explosive chemistry.
Roger and Mark’s friend Tom Collins, a confident gay, part-time philosophy professor at NYU and computer anarchist who gets mugged outside of the building on Christmas Eve. Found by Angel Dumott Schunard, a local drag queen and percussionist, who tends to Collins’ wounds. They instantly spark a connection and discover their shared HIV+ status leading to becoming a couple. As the couple with the largest emotional arc, Vincente Sandoval (Collins) and Kurtis D’Aoust (Angel) anchor the pair on their journey from blissful happiness to emotional despair with vibrant and passionate performances. Benny the former friend and roommate of Mark and Roger, is the group’s nemesis as he has become the landlord of the building and an Upper West Sider – portrayed by Matthew Valinho as an opportunistic social climber torn between the life he’s married into and his former community.
The eight brilliant core performers are supported by an equally excellent ensemble of Jenna Beauregard, Kayla Charchuk, Hailey Fowler, Elizabeth Maller, Darian Ngai, Jaclyn Sim, and Patrick Yukman. Together this company bring life to Jonathan Larson’s acclaimed book and lyrics especially on the iconic group numbers Rent, La Vie Bohème, and Seasons of Love.
Thirty years on from its debut RENT may feel like a period-piece triggering both angst and nostalgia for the 90s as we recall the era laid bare on stage. Younger generations without the ties to the decade will see how different their world is in some ways but everyone will feel the timeless emotional heart of the story – love and passion, friendships and the sheer joy of living each day to its fullest – there’s No Day But Today.
Seize the day and go see RENT, playing at Metro Theatre, 1370 Marine Drive SW, until September 20, 2025. Visit metrotheatre.com for showtimes and tickets.