There’s No Day Like Today to See Rent in PA

by Aimee Renna

The rent is due in Manayunk and the cast is getting their bag at the Ghostlight Players’ completely sold out run of Jonathan Larson’s Rent. This famous show follows the complex lives of several young impoverished artists in New York City during the HIV/AIDS pandemic. Larson’s rock opera was the first of its kind in 1996 and has had a massive lasting impact on Musical Theater as it has evolved through the 21st century. This production at the Venice Island Performing Arts and Recreation Center encapsulates Larson’s vision perfectly thanks to impeccable casting, effective set design, and the coming together of beautiful minds. I was lucky enough to grab a seat at their preview dress rehearsal before their performances officially began, running May 8th and 9th. 

The production staff is led by Director Ed Flores who also serves as President of Ghostlight Players. It is deeply evident that every member of the production, both staff and cast alike, understands the cohesive vision that Flores has brought to the table. Flores and Stage Manager/Assistant Director Rose Xu worked hard to smooth the edges of rehearsal until they created a well paced, well rounded performance. Producer Paul Kleschick and Set Designer Michelle Kleschick further this effort by capturing the edgy feel of New York City grunge in a simplistic but effective and cohesive design. Carolyn DeMayo’s costume design completes Flores’ vision while capturing the soul of each character beautifully within each stitch. These costumes pair nicely with Ash Booth’s crisp choreography, allowing all cast members a full range of motion throughout the various musical numbers. Booth’s choreography shows an exquisite range as the emotions evolve with the plot. The production staff is completed by Music/Vocal Director Mark Urmson. Urmson’s work throughout the show is absolutely paramount as the production is almost entirely composed of music due to its operatic inspiration in Puccini’s La Boheme. The band is rocking, the harmonies are magnificent, and the vocal solos are absolute dynamite. Together, this production staff has created something truly special with the help of an incredibly talented cast. 

Every member of the cast carries the weight of the show on their shoulders. While each named character performs beautifully, I would be remiss if I were to ignore the massive impact of the ensemble on this particular score. Many of the funniest moments of the show are masterfully performed by the ensemble while they provide excellent vocal support throughout deeply emotional scenes. They are listed as follows: Becca Allen, Maddi Biletz, Miranda Guinter, Shannon Schofield, Alie Huxta, and Ashley Booth. They are accompanied by a group of featured soloists who cover a long list of characters among them. Ana Sica (Alexi Darling/Roger’s Mother/Sue) is deeply funny in this role, particularly with the use of facial expressions between the lines. Sarah Stinson (Coat Vendor/Mimi’s Mother/Ali) carries a more honest tone to her role with blooming signs of concern, bringing forward more of life’s complexities. Tauron Thompson (Paul/Cop) is beautifully sincere as he runs the HIV/AIDS support group, offering a kind hand to those in the show who need it the most. Olivia Stettler (Mrs. Jefferson/Woman with Bags/Vendor) exhibits a great grasp of range within such different roles. Durell Griffin (Mr. Jefferson/Pastor/Christmas Caroler/Seasons of Love Soloist) embodies this magnificent range as well, seeming to play a different character every time he graces the stage. Jamie Tyre (Steve/Squeegee Man/Waiter/Dance Captain) is an excellent physical comedian all while guiding the cast through Booth’s catchy choreography. Beck Voltmer (Mr. Grey/Gordon/The Man) is captivating throughout their time on stage, always catching the audience’s eye with deeply emotive expressions. Colleen Keeler (Mark’s Mother/Pam/Seasons of Love Soloist) completes the ensemble as a clear standout both vocally and dramatically, blowing the roof off with her incredible interpretation of one of musical theater’s most famous solos. 

Love is one of the signature pillars in Larson’s storytelling and it is captured by deeply interwoven characters that walk through life in stride. Most clearly, love is seen in Angel and Tom Collins, played by Dorian Bean and Michael Thompkins respectively. Bean is exquisite in this role, embodying unparalleled joy and freedom, acting as a lighthouse through the show's darker plot points. His performance is even furthered by his exceptional vocal prowess that mirrors his counterpart beautifully onstage. Bean and Thompkins are divine together in all of their joint songs, especially acknowledging “I’ll Cover You”.  I must especially commend Thompkins’ riveting rendition of “I’ll Cover You (Reprise)” both vocally and emotionally. The raw level of emotion from Thompkins during this moment and every moment after is a masterclass in living in the character, not just through them. I loved near the end of the show where Thompkins mouthed “thank you, I love you” out to the stars when Angel is mentioned during the finale. Without pulling attention from the main story of this moment, Thompkins delivers a truly breathtaking frozen moment in time. Maureen and Joanne however embody a more fiery (and much less healthy) relationship. The two are constantly pushing one another to the brink of collapse which Jayna Lanshe (Joanne Jefferson) and Lauren Ralston (Maureen Johnson) depict perfectly. Lanshe’s razor sharp wit is accompanied by a cold expression and flaming hot vocality. Her connection with Ralston is dripping with sexual energy, exhibiting the delicate range of love languages in comparison to Angel and Tom Collins. Ralston is a comedic dynamo through not only her dialogue but her featured song “Over the Moon”. Her snide sarcasm in juxtaposition with Lanshe’s seriousness furthers the chasm that opens between them which reaches its deepest depth during their duet “Take Me or Leave Me”. This piece of music is also the greatest example of both voices where Lanshe and Ralston thrive in their respective voice parts. Even the show’s antagonist experiences the throws of passion, albeit in scattered disconnect with the other characters. Benjamin “Benny” Coffin III is performed by Jaysen Rosario, who portrays the “new money” arrogance of Benny with great success. Rosario walks the line of a character that is easy to hate and a character that has a rich history with everyone he shares the scene with. What is complex about a role like Benny is that he is not a truly “evil” person so he cannot be played as one completely lacking any heart or charisma. Rosario succeeds in creating a character that is frustrating, but so incredibly human.

Our final three characters are performed by Emily Beck (Mimi Marquez), Tony Yoo (Roger Davis), and Robert Rinaldo (Mark Cohen). Mimi and Roger continue the depiction of different romantic relationships, this one marred by addiction and deceit. Beck is excellent for the role of Mimi in that she brings something rare to the role: hope. I have seen many performers play Mimi as someone who is so broken and dejected that they have no other choice than to throw their life away. Beck’s youthful dreaming reminds the audience how young Mimi is and how much of her life she has yet to live. She furthers this impressive performance with excellent vocal control that blends perfectly with Yoo. Yoo is a sensation in the role of Roger and it is maddening to read in his bio that this is his first time on stage. His immaculate voice and excellent range of emotion is a clear indication that Yoo must be on stage again and soon. He has a voice that comes around once in a lifetime and I truly hope that I get to hear it again. Speaking of people not usually on the stage, I must recognize the most incredible part of the performance that I saw. Mark Cohen, usually played by Robert Rinaldo, was given a different face at the last moment due to sudden cast illness. The Mark in question was performed by Tom Lane from the Narberth Community Theater cast of Rent which is performing from May 1st to May 16th. Lane stepped in with no prior knowledge of the blocking and extremely limited time to learn before he came on stage. Even with this, he was calm, poised, and seemingly unphased as he worked his way through the show with the help of his new castmates. If you see any performances with Rinaldo, I can guarantee that the audience will have a wonderful time. Rinaldo is an excellent performer with a superb voice and I know that anyone would be lucky to see him on stage now that he is back to full health.

In all, the cast of Rent at Ghostlight Players is an absolute pleasure to watch. Their performances are inspired, the staff has poured their hearts and souls into this passion project, and it is clear that every member of this production has forged a deep bond with one another. Of course, because the entire run is sold out I am not able to tell you to rush out for tickets. Instead, I must recommend that you catch Ghostlight in their next performance in the winter and to consider seeing the cast of Narberth Community Theater during their final two weeks of performances. The kind of support that I witnessed between neighboring theater companies is something that I must celebrate any way that I can as that kind of dedication, commitment, and genuine love is what makes community theater a home to so many. We are all dreamers after all, and it is all on us to support that dream for one another so we can each experience this joy as one. Ghostlight Players’ can be found on Facebook and at their website https://sites.google.com/theghostlightplayers.org/theghostlightplayers/home and Narberth Community Theater can be found at https://www.mynct.org/ .