Today 4 U, Tomorrow for Rent at Haddonfield Plays & Players!

by Laura Duffy

“Don't breathe too deep

Don't think all day

Dive into work

Drive the other way…”

In my humble opinion, there’s always something to be gained from seeing a production of Rent. The show has it all - an addictive rock score, a powerful message, complex and lovable characters, and, unfortunately, continuing political and social relevance in today’s world. A perfect example: sitting in the audience at Haddonfield Plays and Players on Friday night, watching two dear friends of mine perform their rendition of “What You Own” (perhaps one of the songs which best encapsulates the show’s message), the above lyrics struck me. Over the past year, words similar to these have echoed in my own brain – don’t pay too much attention to the news. Don’t let the horrors happening on the daily affect you or you’ll never be able to get out of bed. Dive into work, drive the other way…and so on and so on. I found myself relating to Jonathan Larson’s lyrics in a way I hadn’t before.

But that’s what I love about Rent - it confronts the painful truth that everyone has baggage, that the world is oftentimes not on your side…as well as the hopeful notion that the way to manage through it all is to lean on friends, on family, and on community. 

I could certainly feel that sense of community amongst this stunningly talented cast. It may be traditional in a review to start out by mentioning the stars of the show, but I actually want to begin by highlighting the ensemble of this piece: Kelly Lynn Flores, Adam Johnson, Eva Helene Kleinlein, Rachel Maselek, Aisha Matthews, Taylor Molt, Deitra Oliver, Austin Satinsky, Tatiana Tapang, L Bryce Welborn (who also served as Dance Captain), and Ivie Wren. These 11 actors, who all had featured solos or played smaller roles in the show, were individually incredibly strong, and could also unite to create a wall of sound that brought Jonathan Larson’s music to life with verve. The harmonies landed, the music soared – personal favorite ensemble moments of mine included “La Vie Boheme” and “Seasons of Love” (two of the show’s most well-known songs)...and I’ve heard “Seasons of Love” enough times that if it truly weren’t great, I wouldn’t be mentioning it.

This sense of community within the cast can also undoubtedly be credited to Director and Choreographer Jenna Kuerzi, who recently performed in the show herself. There was an evident love for and understanding of the story, which of course is a director’s job, but I could tell that Kuerzi truly had a deeper connection to the material. (She also sat next to me for the second act of the show…so did she tell me to write this? You’ll never know).

There isn’t a ton of dancing in the show, but there are many songs which require characterized movement or a bit of light choreography, and I did think that the production was lacking in that area. Actors often spent entire numbers sitting or standing in one place, or, if some movement was added, it seemed lackluster or unrefined. I applaud the cast for working with the movement they were given, and for building upon it when they could.

Let’s talk about the principal cast! The show is led by Zachary R. Taylor and Brian Herrick as Roger Davis and Mark Cohen respectively. Mark, an aspiring filmmaker who’s recently been dumped by his girlfriend Maureen for another woman, and Roger, a songwriter haunted by the death of his girlfriend and a recent HIV diagnosis, are roommates in Manhattan’s East Village. The two actors played off of each other nicely. Herrick brought Mark to life with a healthy dose of humor and neuroticism, while always keeping the heart of the piece in mind. Mark films just about everything he sees, and Herrick could be spotted throughout the show with camera in hand, keeping tabs on the story unfolding around him. Taylor’s Roger was tortured, angsty, with a rock tenor voice that cut through each song with ease. Herrick’s portrayal, which definitely leaned comic at times, and Taylor’s sternness created a nice foil between the two of them. Unlikely friends, but not unrealistic in the slightest.

Emily Colón really shone as Mimi Marquez, the new object of Roger’s desire. Her take on the role was one I hadn’t seen before – whereas past Mimis I’ve seen felt seductive, dangerous, almost hypnotizing, Colón leaned into her wrecklessness a bit more. “Out Tonight” felt a bit like a psychotic breakdown – a bit chilling to watch unfold and definitely effective. She and Taylor had nice chemistry, and they were also able to really dig into the more emotional scenes with vigor. It was devastating to watch them self-destruct, before finally admitting how much they needed each other. 

Yeshua Irizarry’s portrayal of Angel Dumott Schunard was so much fun to watch. Granted, Angel is usually one of my favorite characters, but Irizarry’s performance felt uniquely honest, heartfelt, and altogether fabulous. The tone of his voice fits the role perfectly: it’s light and sweet, and all of his music sounded wonderful. Paired with Stephan Burse’s Tom Collins, the two were instantly lovable. Burse’s Collins may be the best I’ve ever seen – his voice is rich and soaring, each breath filled with emotion. His rendition of “I’ll Cover You (Reprise)” alone is worth the price of admission. There is also a lovely moment at the end of that number when the entire company surrounds him and places hands on him. I don’t often get emotional in public spaces, but this performance brought me close.

Another highlight for me was Chris Crawford Jr.’s portrayal of Benjamin Coffin III – especially his vocal work throughout the show. His voice is clear as a bell, with an impressive range, and he added some really stunning ornamental riffing (especially in “You’ll See”) that brought his performance to the next level. I’d say that Benny isn’t usually a character whose scenes I look forward to, as he’s more or less the “villain” of the story (if Rent has a villain…or maybe it’s Ronald Reagan), but I found myself hoping he’d show up just so I could see more of Crawford’s performance. I hope to see him on stage again soon.

Courtney “Birdy” Bird and Lauren Stefanakis brought Maureen Johnson and Joanne Jefferson to life – another couple in the show who always seem to be at odds. Bird had no trouble sinking into Maureen’s out-of-the-box, chaotic energy. Her rendition of “Over the Moon” was about the goofiest I’ve ever seen it done. Stefanakis was a match for her in this regard – her Joanne was far less serious than I’ve seen in the past. In fact, I think there were some moments for both of them that seemed a bit too unserious – I was missing a bit of depth from their characters. However, the two were also a good vocal match. They both have strong voices which command the stage and pair nicely together.

The pit comprised of Music Director Allison Rossi on Keyboard 1, Steve Prontnicki on Guitar 1, Ben Brantley on Guitar 2/Keyboard 2, Ron Bonilla on Bass, and Elliot Brandow on Drums. I was impressed that such a small group of musicians was able to bring Rent’s score to life! There were a couple of songs that probably would have benefited from having a larger group of musicians to fill out the sound. Nevertheless, it’s always exciting to hear music played live, especially in a small space that easily could have utilized accompaniment tracks. Bravo!

Both the pit and performers were amplified by Sound Engineers Ryan McAuliffe and Kevin Salvatorelli. Throughout the show, I did find it difficult to hear the actors whenever music was playing, although as soon as the music ended I had no trouble hearing. Sometimes this can be credited to the limitations of the microphone technology, which I suspect was the issue here. I’m hopeful that the sound balance will continue to improve over the course of this show’s run.

Ryan PJ Mulholland, who served as Costume Designer, did a nice job of making the characters’ outfits evocative of the designs from the original production without making them carbon copies. Props were designed by Debbie Mitchell, and always served the actors well (I get nervous about how that damned candle is going to work every time, but it was fine!). Wig Maintenance was done by Lauren Patanovich - although I’ve been told Irizarry styles and upkeeps his own wigs as well. Thanks to both artists, they looked fabulous!

The performance as a whole ran incredibly smoothly, no doubt thanks to Stage Manager Jett Meisel and Assistant Stage Manager Natalie Jewell. The set, designed by Artistic Director Chris Miller, encapsulated everything a Rent set should be - colorful Christmas lights hung from the rafters above the audience, which was a nice bit of immersion, and the stage itself featured a unit set which could serve as Mark and Roger’s apartment, as well as various other outdoor and indoor locations. EZ Does It Flooring served as carpenters, and did a great job bringing the design to life. The show was lit by designer Eric Baker, who expertly highlighted both the scenery and the actors whenever necessary, and whose designs were carried out by Nicole Plasket, who served as Light Board Operator. 

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“What You Own” ends with lyrics that, thankfully, are more optimistic than the way the song begins. Its final two lines also perfectly summarize the way I felt leaving the theater, and how Rent should always make you feel:

“You’re not alone

I’m not alone.”

Rent runs until October 4, 2025, with 8 pm performances on Thursdays, Fridays, and Saturdays, and 3 pm matinees on Saturdays and Sundays. Tickets here: https://haddonfieldplaysandplayers.csstix.com/event-details.php?e=548