By Klaudine Bessasparis
Directed and choreographed with exceptional flair by Robin Lewis, the explosive production of “RENT” lit up the Bart Luedeke Center Theater stage this weekend, brilliantly showcasing the multifaceted talents of Rider University students as they navigated the poignant and often painful realities of the 1990s AIDS epidemic set against the backdrop of New York’s Alphabet City.
From October 25 through 27, audiences were transported into the vibrant yet gritty world of “RENT,” where set designs evocative of an abandoned warehouse gave the unmistakable feel that the characters were both sheltered and isolated from the harsh misfortunes of the outside world, though those harsh realities would inevitably intrude upon their lives.
The cast brought to life a diverse array of characters grappling with the AIDS crisis, including Mark Cohen, expertly portrayed by senior musical theater and marketing double major Riley Bocchicchio; Roger Davis, skillfully presented by junior musical theater major Will Braxton Coffey; Tom Collins, brought to life by junior acting major Brock Warren; Angel Schunard, played by the dynamic junior musical theater major Cole Russell; Joanne Jefferson, characteristically delivered by sophomore musical theater major Nia Chavis; Mimi Marquez, compellingly acted by senior musical theater major Isabella Rosalie; and Maureen Johnson, energetically embodied by junior musical theater major Lilli Doll.
“RENT” masterfully intertwines vibrant choreography and humorous exchanges with devastatingly poignant dialogues and self-reflective lyrics to shed light on the struggles faced daily by those living with AIDS, as well as their friends and partners who bear the emotional weight of their battles.
Davis and Marquez, both of whom are grappling with their own battles against AIDS, share a poignant secret—they abstain from communicating their true health status to one another, driven by a fear of jeopardizing their budding romance. This emotional tension resonated deeply in Coffey’s and Rosalie’s hauntingly beautiful renditions in Act 1’s notable numbers “Light My Candle,” “Another Day,” and “I Should Tell You.” The dramatic impact of this unspoken truth is set up by Davis’s soul-stirring performance of “One Song Glory,” highlighting his desperate desire to leave a lasting musical legacy.
The audience quickly picks up on the essence of Schunard, a vibrant drag queen, who not only battles AIDS but does so with a flair that captivates onlookers. Her elaborate, eye-catching costumes steal the show, particularly in her lively performance of “Today 4 U,” where she dons a whimsical Santa Claus-inspired ensemble. Meanwhile, Collins’s character—a brilliant intellect who tutors to make ends meet—harbors aspirations of escaping Alphabet City to pursue a dream of opening a restaurant, a desire compellingly articulated in Act 1’s “Santa Fe.” The rhythmic and infectious melodies of both Schunard and Collins left me grinning, wishing I could squeeze into their metaphorical car bound for Santa Fe while dreaming of a future waiting tables myself.
The tumultuous relationship between Johnson and Jefferson remains a focal point throughout “RENT,” with initial insights into their struggles emerging through a captivating duet sung by Cohen and Jefferson in Act 1, titled “Tango Maureen.” Perhaps I am a bit biased due to my fondness for watching “Dancing with the Stars,” but I cannot resist spectacular choreography paired with witty and revealing lyrics, all of which “Tango Maureen” skillfully provides. Cohen and Jefferson’s experiences as victims of Johnson’s dishonesty fuel the dramatic narrative’s progression, keeping the audience fully engaged. I found myself swaying in my seat, bursting into laughter at the clever juxtaposition when the performers rhymed “spooky” with the increasingly popular term of endearment, “pookie.” Chavis and Bocchicchio impressed as stellar actors, making this tango an ideal showcase for the talents of the choreographers.
The character of Jefferson quickly emerged as my favorite within the ensemble. Despite playing a slightly more minor role in the production, her contributions were pivotal, and her comedic timing was impeccable, provoking fits of laughter during Act 1’s “We’re Okay,” where cheerful holiday melodies clash with Jefferson’s ironic frustrations.
While I appreciated the costumes, melodious vocals, and captivating choreography that characterized the songs in Act 1, I occasionally found the narrative difficult to follow. The overlapping lyrics from different characters at times muddled my ability to grasp the revelations inherent within those songs. Certain critical plot elements remained obscured until nearer to intermission, somewhat hindering the first act’s ability to hold my undivided attention.
Fortunately, Act 2 unfolded with greater cohesion, albeit steeped in heartbreak. The early demise of Schunard resonated deeply with the audience, especially during Collins’s heart-wrenching expressions of grief in “I’ll Cover You” and “Goodbye Love,” two beautifully poignant numbers that enraptured the crowd. The interpretive dance performed by the ensemble alongside Schunard vividly conveyed the depths of his pain. Under the haunting choreography, the ensemble dressed in black surrounded Schunard with a sheer, white parachute, their outstretched hands desperately reaching out for one last connection. This stunning dance sequence undoubtedly showcased material worthy of “Dancing with the Stars,” leaving my own heart aching for the characters as they grappled with the profound grief of losing a beloved friend—a theme that resonated more closely following the passing of Rider University’s own Raven Syed.
All in all, Rider’s impactful production of “RENT” brilliantly illuminated the talent of each actor, revealing the expertise and creativity of the artistic staff and crew who successfully crafted a narrative that leaped off the stage, inviting viewers to immerse themselves in the authentic struggles of living through the AIDS epidemic alongside the characters. I left grateful that I allowed “RENT” to lease a precious few hours of my time, deeply moved by the powerful, immersive performance.
Klaudine Bessasparis is a senior English major
