Pinch ‘N’ Ouch Theatre Company has re-opened their production of “Rent,” now at 7 Stages Theatre through Jan. 21. This production manages to convey the story well enough to entertain and even move at times, though it’s rarely more than competent and suffers from gaps in the musical skills of the actors. While the show earns a lot of points on the sheer pathos of Jonathan Larson’s story and the electric nature of the score, there’s little that sets this version of “Rent” apart, aside from appealing design elements and a couple of strong performances.
Credit: Nigel Marson
Credit: Nigel Marson
Visually, the show has a good look to it. Director Grant McGowen’s scenic design is fairly standard but benefits from the striking accents of Branden Hembree’s graffiti. Jack Sharp lends colorful lighting that serves to heighten the show’s inherent melodrama. Alfonso Lora pulls together fun costumes, including the dazzling ensembles they themselves get to strut around in as Angel.
Aurally, the ensemble sounds good, and the sound is well-balanced, but this needs to be said: What was that pre-show music? Did they just look for greatest hits from the ‘70s through the ‘90s? Where is the grunge and punk rock that is laced throughout the score? The song that somehow hit the tone of the show most precisely was “Tear Me Down” from “Hedwig and the Angry Inch,” an odd but strangely welcome choice.
Standouts among the cast include Ian Cole Ingram as Collins, Alfonso Lora as Angel, Kenedi Deal as Maureen and Rachael Simpson as Joanne (Simpson stepped in for Vallea E. Woodbury during the performance I attended). Each brings their own energy to their roles in ways that make the character uniquely their own. Ingram and Lora have playful chemistry during “I’ll Cover You,” and, whether or not it was a conscious choice, I love having an Angel who is taller than Collins — not because it shifts the dynamic of their relationship, but aesthetically, it becomes more transgressive than it probably should be. Deal is a riot during “Over the Moon,” and Simpson is a charismatic presence throughout.
Sadly, many of the main cast members lack the vocal stamina to keep up with Larson’s admittedly demanding score. The most noticeable is McGowen, who audibly struggles to capture his character Roger’s rock ‘n’ roll power tenor. Not only does he lack the range to hit those impressive high notes, but he fails to produce the levels of power and intensity that characterize the bulk of Roger’s songs. Mikaela Holmes similarly has difficulty with the variations in Mimi’s vocal track, though she hits some impressive belts in less movement-heavy songs like “Goodbye Love.” Layne MacPherson is the most in his element, as Mark’s track seems to sit comfortably in his tessitura.
Credit: Nigel Marson
Credit: Nigel Marson
Simpson probably does the best job of covering her own vocal limitations, which I’m aware sounds like a backhanded compliment, but hear me out. Though she is a strong singer, she lacks the vocal agility needed to do things like jumping from F3 to D4 and back again with little more than a half-beat’s notice, as she has to do more than once during “Tango: Maureen.” To compensate, she turns those moments into growls, emphasizing Joanne’s frustration with the situation and amplifying the comedic value of the song. Some of her castmates could take a note or two from her instinct.
Still, the ensemble pieces sound splendid, especially “Seasons of Love,” in which Nichole Marie Turner and Leo Ebanks shine as the featured soloists. “La Vie Boheme” is, of course, a grand time — though it would honestly be difficult to stage a boring version of that song. The ensemble boosts the song’s energy through sheer force of boho enthusiasm. With “Rent,” having an eager ensemble is a third of the battle, and this production is certainly not lacking in that regard, even if the staging doesn’t always make things more exciting.
There are some highlights to McGowen’s direction. He seems to have had more fun playing with some of the “bit” moments in the show, including the many voicemails. Introducing some gender-bending to the voicemails proves a successful choice, and having Maureen use Mark as a prop during “Over the Moon” earned some well-deserved laughs.
Mikaela Holmes’ choreography is fairly simplistic, hitting some highs but mostly confusing movement for kineticism. “Santa Fe” is a standout — it is amusing to see Collins slowly involve the ensemble in the choreography, showing how the people around him get swept up in his escapist fantasies. Incorporating Roger’s late girlfriend as a balletic ghost into “One Song Glory” was also a captivating choice that I actually wish had been weaved throughout the show more — having her haunt him as he sings helps strengthen the notion that her death is still haunting his music. She only shows up once more, during “Without You,” and while that appearance is well-placed, it points toward the show’s tendency to hit individual moments without tying them together into a cohesive experience.
Ultimately, “Rent” is a musical about love and the difficulties of connection in a social landscape ravaged by late-stage capitalism. It can be easy to get distracted by the rock ‘n’ roll trappings of the show and not understand that Larson’s middle-finger mentality is inextricably tied to the core theme of connection. This production does seem to understand that, to a degree — it simply lacks the musical competency to let the show’s inherent vitality shine. While the performances benefit from a degree of earnestness, a more unified creative vision and stronger vocals would have solidified the production.
THEATER REVIEW
“Rent”
Through Jan. 21. $45-$90. Pinch ‘N’ Ouch Theatre at 7 Stages, 1105 Euclid Ave. NE, Atlanta. 7stages.org.
Credit: ArtsATL
Credit: ArtsATL
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