RENT opens with three slides projected one-by-one onto a billowing curtain:

rent noun

a payment made periodically by a tenant to a landlord in return for the use of a building 

rent verb [past tense of rend]

to tear apart, split, or divide an object or community

rent noun

a musical production that’s delighted audiences for 25 years!

The show continues as a home movie, jerky and inexpert, until the curtain is drawn back to reveal the entire ensemble performing “Rent” – and, as they say, ‘The crowd goes wild!’

Director Adrian Abel Azevedoh/h uses this sort of projection devices cleverly throughout the show, a very effective innovation that adds a quality of … well … boheme to the entire production.

Playwright Jonathan Larson h/h, inspired by Giacomo Puccini’s opera La Boheme, wrote the music, lyrics, and book for RENT in the early 1990s; it premiered on Broadway in 1996. Despite some anachronisms (answering machines?!), RENT withstands the test of time. Over 25 years it has become a cultural phenomenon, and its core agenda – homelessness, gentrification, community – remains fresh today. Fresh, yes, and pervasive on 2022 stages – it takes an outstanding production to make these ubiquitous themes stand out. Fortunately, Porchlight Music Theatre delivers.

The cast is superb. Both cast and production crew are extensive, so I’ll refer the reader to the webpage for details I may inadvertently omit. Outstanding in the cast are the main characters, beginning with Mark Cohen (David Morelandh/h) and Roger Davis (Shraga D. Wasserman th/th), with Maureen Johnson (Lucy Godínezsh/h) playing opposite Joanne Jefferson (Teressa LaGambash/h). The pairing of Tom Collins (Eric Lewish/h) and Angel Dumott Schunard (Josh Pablo Szaboh/th) has incredible chemistry, and Benjamin “Benny” Coffin III (Abraham Shawh/h) is a perfect mustache-twirling villian, particularly in his treatment of Mimi Marquez (Alix Rhodesh/h).

Laura Savage’ssh/h choreography uses the ensemble -- TJ Tappsh/h (dance captain), Bridget Adams-Kingsh/h, Naphtali Curryh/h, Leah Davissh/h, Chris Khoshabah/h, Nik Kmiecikh/h, and Brennan Urbi h/th -- creatively throughout, particularly when in backing lead singers. Rather than leave the ensemble simply standing behind the leads, Azevedo applies Savage’s choreography to stage interesting little sub-scenes behind the primary action. This couldn’t be done without a wonderful set featuring multiple levels and niches by Scenic Designer Ann Davissh/h, and lighting design (Maggie Fullilove-Nugentsh/h, Josiah Croegaerth/h) that accentuates the multiple creative groupings.

Dr. Michael McBrideh/h directs and conducts the music performed by guitars Jakob Levi Walshth/th and Cesar Romeroh/h, with Marcel Bomfimh/h on bass and Lior Shragg playing drumsh/h. Gregory Graham h/h (costume designer); Rowan Doe th/th (properties designer); Kirsten Baityth/th (intimacy designer);  Deborah Blumenthalsh/h (dramaturg); Frankie Leo Bennetth/h (producing artistic associate); Alex Rhyanh/h (production & operations director), and Michael Weberh/h (Artistic Director) complete the superb production crew.

So … what else is terrific in RENT? Godínez’s Over the Moon is simply adorable, and she shines again in Take Me or Leave Me with her and LaGamba battling for the microphone. Szabo’s Angel totally won my heart (I’m a sucker for a man in eyeliner!), and I choked up over Lewis’ reprise of I’ll Cover You. The huge smiling picture of Angel sent me back in time: I was a psychiatric resident at Rush during those pre-HAART, pre-testing days of AZT and terror. My familiarity with the Plague caught some anachronisms in the script that others might not see, but that’s really a measure of just how iconic and robust RENT is.

But enough about me!  Speaking of Eric Lewis, he, Godínez (Maureen), and Wasserman (Roger) stand out as extraordinary vocalists. Whether in solo or with other singers, these three voices dominate. That’s not necessarily a positive, as they can overshadow their castmates at times. Like Cassie in A CHORUS LINE, a performer that’s conspicuously better than the others can be a little awkward. That’s the kind of problem you sort of want to have, but still …. Similarly, the love story between Wasserman and Rhode (Mimi) would have played just fine but for its variance with the enchanting chemistry between Collins and Angel; again, the extraordinary can make the excellent appear ordinary.

There were a couple of production snafus: the curtain didn’t pull smoothly, and there were occasional mic issues, but these are clearly opening-night glitches and will be ironed out as the run continues.

I have to acknowledge here that I feel secure in offering these critiques specifically because the show is so terrific! I noticed these snags, but none detract from the charm, the artistry, the glamor that is RENT.

*extended through December 11th