Last night a good friend took me to see RENT for my birthday and even before it began we had eaten most of a large popcorn with ample butter. Walking into the theatre before 6:00PM there was already someone waiting in line for the 7:30PM showing with a big sign and a blanket over his head. I wanted to pick him up and bring him in with us since there were so many seats available in the earlier showing. Shortly thereafter the seats filled up, and I could tell by the energy that almost everyone here was a RENThead. We were there because we loved RENT, we understood Jon’s message, and we were family. The opening scenes were surreal as his dream was reproduced on the silver screen, and I was joyously pleased to see almost the entire original cast reprising their roles, and I even quickly forgot that they were all a decade older. I’ve seen bad productions before (for example, a horrid production in Las Vegas 2 years ago) and I was happy to have the Original Broadway Cast back again. Rosario Dawson slinked into the role of Mimi seamlessly, and the theatre heated up with Mimi’s Cat Scratch Club scene during “Out Tonight”. The filmic freedom of setting enhanced the opening numbers of “How We Gonna Pay” with an incendiary wit that could not have been fully realized on stage. Jesse L. Martin’s “Collins Tom Collins” flawlessly acted with compassion towards Angel and effectively portrayed the pain in his eyes as Angel progressively withered and died of AIDS.
Only scenes like “Take Me Or Leave Me” set in a country club complete with mock humor by Mimi’s mother (who’s definitely not Hispanic in this version) and Pascal and Rapp’s “What You Own’s” juxtaposition of Santa Fe and New York City was only slightly less disconcerting than Pascal’s hair flapping like Bon Jovi’s while he drove the junker across Route 40 into New Mexico. Columbus enigmatically left out the emotionally stirring “Finale B” as the most pertinent cut for this viewer. Although I stumbled over some lyric changes to shift the action temporally into the New Year and the casting of Sarah Silverman as Alexi Darling that had some audience members scoffing, Adam Pascal’s voice gave me shivers of emotions that moved from life ambivalence to conflict to pain to love and then to passion and hope. Moreover, the theatre sobbed in unison when Mimi died and cheered at the final scenes of Angel who gratifyingly wove together the plots and people of Larson’s vision and reimagined and readdressed a world of AIDS.