Theater review: ‘Rent’ at Casa Mañana

— They are broke, sick and mostly without hope. But that sure doesn’t prevent them from singing.

They populate the musical Rent, which opened Saturday at Casa Mañana, and never let little things like poverty and AIDS get in the way of a good song in this outstanding production. Director and choreographer Tim Bennett does an artful job of interpreting Jonathan Larson’s masterwork, and he gets plenty of help from a highly-talented and well-balanced cast.

This musical, which had its Broadway debut in 1996, is based on Puccini’s beloved La Boheme, an opera that follows the trials and romances of a group of would-be artists in 19^th century Paris. Larson’s updating of the story moves the action to New York City in the 1990s, but keeps some the same basic plot elements (except for a Lazarus-like moment toward the end) and characters.

The primary focus is the difficult romance of Roger (John Arthur Greene), an aspiring rock star, and Mimi (Kalyn West), an exotic dancer and junkie. Despite their youth, they are already battered and bruised by life in a number of ways, and their courtship is an odd mix of need and wariness. Both are broken and see the other as a possible fix (in about any sense of that word).

Circling around them are a colorful assortment of other neo-bohemians. Angel (Tyler Hardwick), a flamboyant drag queen, finds comfort in the arms of the surprisingly sober Tom Collins (Maurice Verrett Johnson. The self-absorbed performance artist, Maureen (Mackinzie Bell) cavorts with her lover and manager Joanne (Phyre Hawkins), much to the dismay of filmmaker Mark (Noah Putterman), who still has feelings for the on-going trainwreck that is Maureen. They are all united against a common foe, Benny (Calvin Scott Roberts), a former roommate of Roger and Mark who is now causing problems as their landlord.

So these characters have a lot to complain about, and they never pass up an opportunity to do so. But thanks to the late Larson (and this excellent cast), their angst is a joy to hear.

Usually, in a show this size, a voice or two will rise above the rest. But this production is so well-cast and well-managed by Bennett that that is not the case here. Greene and West are equally strong in their lead roles. The only slight quibble about the former, however, is that, while he has the whole rock star persona thing down, he delivers every line he sings with an edge of pleading desperation. It is a valid way to read the character, but it also gets a little tiresome.

Hardwick has a beautiful baritone that he brings to bear especially on the charming, loping Santa Fe. Bell knocks it out of the park on more than one occasion, especially in the hilarious presentation of her character’s absurd performance art. Putterman, who serves as director of children’s theater and education at Casa, makes the most of his few numbers. It is no surprise, therefore, that the rare points when the whole ensemble is on stage are among the most shining moments in this production.

There is a decidedly 1990s look, thanks to the costumes by Tammy Spencerand the hair and makeup by Catherine Petty-Rogers. A special tip of the Stetson to props master Maria Leon for the clunky, vintage mobile phones dialed up for this show.

Also of note is the on-stage, five-piece band that supports the singers. Music director James Cunningham does a superlative job of leading his crew (Kim Platko’s guitar work is especially spot on), and even at the opening night performance seen for this review, the mix created by sound designer Kyle McCord was right on the money.

Bennett has directed and choreographed several musicals at Casa (including this one, in 2012) and his work continues to impress on every level. When you see one of his shows, you feel you are seeing the players involved at their absolute peaks.

This story was originally published February 28, 2016 at 5:48 PM with the headline "Theater review: ‘Rent’ at Casa Mañana."