by Chris Saunders
IDS News
December 2, 1999

Rent is a fact of life that cannot be ignored. And now is no time to start.

The touring company of "RENT" will perform at the IU Auditorium four more times (twice on Saturday, twice on Sunday) until it takes the final Bloomington bow.

Do whatever it takes. Sell those old CDs and textbooks. Call Mom and Dad. Or, even take a cue from "RENT's" own Tom Collins and attempt to re-wire an ATM (though this method is not recommended).

In short, do what you must do, just make sure not to miss "RENT." It might be (as the ensemble sings in "Seasons of Love") more than 525,600 minutes until another show as persistently vibrant and ultimately powerful graces the boards of Bloomington with such striking presence.

Granted, "RENT," like any other successful American product, has been overcommercialized. "RENT" magnets, T-shirts, tank tops and - yes - even "RENT" temporary tattoos have seeped their way into the U.S. pop culture of the moment. But make no mistake: The musical, based on Puccini's opera "La Boheme," is by no means fleeting or shallow.

Early in the first act, emotional depth, symbolism and a tinge of humor combine to spark what is guaranteed to be an intriguing, human story.

Mark (Scott Hunt), the aspiring filmmaker, is still recovering from his breakup with Maureen (Michelle Joan Smith), who has dumped him for Joanne (Jacqueline B. Arnold). He decides to begin shooting footage without a script, in hopes that spontaneity will yield more brilliance than his previous well-planned attempts.

His roommate, Roger (Cary Shields), is tuning his guitar which has sat untouched for months since his girlfriend committed suicide in the bathroom leaving only the message, "We've got AIDS." When the power blows, they produce heat by burning Roger's promotional posters for his rock band and Mark's screenplays.

And that's just the first five minutes.

"RENT" has captured the attention of theater audiences around the country (and the world, for that matter) for many reasons. It focuses on a central issue of loving your fellow man without judgment or fear utilizing racial, ethnic, religious and sexual minorities. Also, it deals frankly with the AIDS crisis without cramming tragedy, grief and a political agenda into practically every scene, such as in "Angels in America." It is fun. It is moving. It is provocative. And this production soars.

As Roger, Shields avoids the pitfall of the role by not letting Roger's immense ball of repressed frustration manifest itself into a character who is angry and unlikable. Although he tells the persistent and alluring Mimi (Saycon Sengbloh) to leave his apartment during "Light My Candle," it is obvious his resistance is weakening, and the battle is fascinating and fun to watch.

Hunt has created an extremely charismatic and dimensional Mark (who is basically the narrator of the show, the voice of "RENT's" late composer, Jonathan Larson). "Tango: Maureen," the duet between Mark and Joanne, is charming, funny and allows for great insight into the strange and amusing love triangle between Mark, Maureen and Joanne.

Perhaps the most touching relationship in the show is between drag queen Angel (played with piercing sensitivity and wit by Shaun Earl) and the vagabond professor Tom Collins. Maybe it's the impending doom of both the HIV-positive characters, or perhaps it's the simplicity with which Earl and Horace V. Rogers handle the chemistry between the characters. Whatever the reason, Collins and Angel as portrayed by Rogers and Earl make an irresistible duo.

When Angel and Collins first discover each other, "I'll Cover You" is an endearing testament to their newfound love. But later in the show, when Rogers' character goes solo on the reprise, the song becomes steeped with a deeper, more profound meaning. It is easily one of the more poignant moments of the show.

Complementing the colorful performances are vivid and exuberant costumes and energetic light changes. The set is simple, yet a work of art on its own. Tuesday night's performance experienced a few technical difficulties with the sound, but nothing could draw too much away from the power of "RENT."

"RENT" has become, perhaps, the musical of the '90s. This is for good reason. Get tickets soon. As they say in the show, "No day but today."