(Photo credit: Dr. George Scott)
“Rent: the Musical” follows a group of impoverished, young artists trying to survive the HIV/AIDS epidemic that closely affects so many of their lives. But beyond that, it’s about love, community, and finding joy in the hardest of moments.
When I found out Redline Performing Arts was putting on this production (for the second time in their history), I bought tickets as soon as they were on sale. Redline as a company is known for their inclusivity and accessibility. This show is of no exception. The cast features performers of multiple different races and ages, proving that the arts really can be for all. I applaud this company for their constant efforts to make everyone feel included and welcome, no matter who you are, or where you come from.
The show was performed in the Kentucky Center’s Mexx Theatre, which is their intimate black box venue. When you first walk into the space, you can’t help but notice the unique position of the stage in correlation to the audience. The stage is set in the formation of an uppercase ‘T’, with the audience surrounding it on all sides. I was skeptical about the possibility of an obstructed view, especially for some of the un-raised seats. Although there were moments when this suspicion was proven correct, for the most part, I was able to enjoy the view without straining my neck or adjusting the position of my seat.
As soon as the lights dimmed, the performers flooded into every corner of the space, behind you, in front of you, and for some seats, right next to you, immediately creating an immersive environment.
I had high expectations for the opening couple of numbers, and as much as I hate to say it, I was slightly disappointed. The mics provided varying degrees of issues, pulling focus from the performers, and strongly affecting the vocal to orchestra ratio. The energy from the performers also started low. That was until they hit the number ‘Tango: Maureen” which brought up not only the energy of the actors, but the audience as well. From that point on, a majority of the mic issues seemed to be under control and the performers felt more charged than before. I was as if someone flipped a switch, suddenly turning everything up by 50 percent.
There were a few actors who seemed to be charged throughout the entirety of the musical, such as Ann Morgan Heath (Maureen Johnson), and Phillip Clemons (Tom Collins.)
Ann Morgan Heath had an excellent stage presence that demanded the eyes of the audience which she paired with insanely strong vocals that never once lost their magic. Her powerful energy fit the character of Maureen perfectly and wonderfully contrasted Tymika Prince (Joanne Jefferson), who had a controlled and organized energy. This was highlighted in the showstopper “Take Me or Leave Me,” which demonstrated the power dynamic of the characters’ relationships.
Phillip Clemons, who played Tom Collins, gave the audience goose bumps with every vocal. His voice was rich and deep, causing every one of his lines to get stuck in your head – even days after the show. I also applaud his ability to always stay in character; it didn’t matter if he was speaking or even if there was light on him, he was always locked in.
Overall, the moments that stuck with me most were the big ensemble numbers, especially in act two, such as “La Via Boheme”, “Seasons of Love”, and “No Day but Today.” The vocal blend of the ensemble was impactful, and the harmonies were always tight, causing constant chills.
I loved the message of this production and the way they shared it. And although there were a few bumps in the road, it didn’t pull an excessive amount of focus. Thank you to Redline for continuing to share such a powerful message in our current state; this production brings to life the very reason why the arts are so important.
