‘RENT’ impresses on stage despite convoluted plot

By Klaudine Bessasparis

Directed and choreographed by Robin Lewis, “RENT” exploded from the Bart Luedeke Center Theater stage this weekend, demonstrating Rider students’ talents through characters navigating the harsh realities of the 1990s AIDS epidemic in Alphabet City, New York. 

From Oct. 25 to 27, the audience was thrown right into the heart of “RENT” with a set construction reminiscent of an abandoned warehouse, giving the essence that the characters are tucked away from the misfortunes of the real world, even when such conflicts inevitably find their way through the door.

The main characters struggling with the AIDS epidemic included: Mark Cohen, played by senior musical theater and marketing double major Riley Bocchicchio; Roger Davis, played by junior musical theater major Will Braxton Coffey; Tom Collins, played by junior acting major Brock Warren; Angel Schunard, played by junior musical theater major Cole Russell; Joanne Jefferson, played by sophomore musical theater major Nia Chavis; Mimi Marquez, played by senior musical theater major Isabella Rosalie; and Maureen Johnson, played by junior musical theater major Lilli Doll.

“RENT” combines entertaining choreography and funny banter with heartbreaking conversations and self-aware lyrics to evoke the strife that individuals with AIDS, or their friends and partners, face daily.

Davis and Marquez are both on AIDS medication but refrain from telling each other for fear of ruining their evolving relationship. This concern makes itself clear with Coffey’s and Rosalie’s beautiful vocals in Act 1’s “Light My Candle,” “Another Day” and “I Should Tell You.” Prior to their meeting, viewers hear Davis perform “One Song Glory,” illustrating Davis’ desire to leave a musical legacy.

Theatergoers understand early on that Schunard, who also has AIDS, is a drag queen, and her intricate, bright costumes shine throughout the musical, one of my favorites being the Santa Claus-esque one she wears during her Act 1 song, “Today 4 U.” Her partner, Collins, is an intelligent character, as he tutors to earn money, yet he has aspirations to move away from Alphabet City to try life as a restaurant owner, an inclination we hear more about in Act 1’s “Santa Fe.” Both Schunard’s and Collins’ songs cultivate delightful rhythms that left me smiling, wishing I could steal a seat in their hypothetical car to Santa Fe, a career as a server in my future.

Johnson and Jefferson’s relationship remains on the rocks throughout “RENT,” and spectators first learn of their issues through Cohen’s and Jefferson’s duet in Act 1, “Tango Maureen.” Maybe I’m biased due to how much time I spend watching “Dancing with the Stars,”  but I am a sucker for hilarious, exposing lyrics enhanced by splendid partner choreography, all of which “Tango Maureen” offered. Cohen and Jefferson are both victims to Johnson’s deceptions, and the revelations Jefferson has with Cohen’s help move the story forward, keeping patrons engaged. I could not help but dance in my seat, cackling when the performers rhymed “spooky” with the recently-popularized endearment term, “pookie.” Chavis and Bocchicchio are spectacular actors, and I find this tango an exemplary opportunity for choreographers to demonstrate such to audiences.

The character of Jefferson easily became my favorite. While she might have been a slightly more minor persona in the show, her involvement was integral to the plot, and her line delivery was spot-on, sending me into giggling fits during Act 1’s “We’re Okay,” which unites cheery holiday sounds with Jefferson’s ironically-contrasting frustrations.

While I enjoyed the costumes, vocals and choreography amongst the songs in Act 1, I sometimes found the story difficult to follow. Different characters’ lyrics would overlap one another, and while such creative liberties can be effective, I felt as though it took away from my comprehension of that song’s revelations. Certain aspects of the exposition were hidden from view until closer to intermission, interfering with how much the first act captured my attention.

Fortunately, Act 2 felt more cohesive, albeit heartbreaking in and of itself. Schunard passed away early in the act, and spectators watched as Collins fell apart during “I’ll Cover You” and “Goodbye Love,” two graceful tunes that enraptured the crowd. I felt pulled into the story as the ensemble and Schunard performed an interpretive dance that demonstrated Schunard’s pain. The ensemble wore all black while a white, translucent parachute surrounded Schunard as hands strained to connect with him one last time. This performance was definitely “Dancing with the Stars” material, as I observed that my own heart hurt for the characters while their grief of losing a friend was all-consuming, something that hit closer to home following the passing of Rider University’s own Raven Syed.

All in all, Rider’s production of “RENT” exhibited each actor’s talents, showcased the artistic staff and crew’s savviness and skills to formulate a story that jumped off stage, tugging viewers on stage to experience the struggle of living during the height of the AIDS epidemic alongside the characters. I’m glad I let “RENT” lease some of my time to watch such an immersive performance.

Klaudine Bessasparis is a senior English major