Most Helpful Customer Reviews
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78 of 82 people found the following review helpful:
5.0 out of 5 stars
"No day but today" - Jonathan Larson's "Rent", January 16, 2001
"Rent" is one of those musicals where Barbra Streisand is never going to cover any of the songs on one of her Broadway albums. The pastiche of music styles reminds me of "Hair," "Godspell" and "Cats"--there are 43 tracks, including a reprise of "Seasons of Love" featuring Stevie Wonder singing with the 15-member cast--and to a large extent "Rent" also shares with those shows the ensemble nature of the cast. But just because the songs from this show are not destined to be Broadway standards does not detract from their power. These are songs driven by character and context more than melody and voice, reflecting pretty much the complete spectrum of musical styles. You have straight forward rock-and-roll in "Rent" and "Goodbye Love," but also everything from Gospel in "Seasons of Love to the Tango in "Tango: Maureen." More importantly, what stands out in the performance of these songs is how the characters are more prominant than the voices: Adam Pascal as Roger, Daphne Rubin-Vega as Mimi, Anthony Rappas Mark, Jesse L. Martin as Tom, Taye Diggs as Ben, and Wilson Jermaine Heredia as Angel. This is a story with songs and the intergration of the two is something you would expect much more from an opera than a traditional musical. This would make sense since "Rent" was inspired by Puccini's opera "La Boheme," but knowledge of the "original" is not at all necessary, although when Collins loses his coat ("You Okay Honey") that will bring a smile of recognition to those who are in the know as will a couple of guitar riffs. The main thing is that if we are talking opera, that means at least one of the lead characters will be dead by the time the curtain rings down. Certainly in that regard "Rent" is a sobering story, with the additional pathos of the death of its creator Jonathan Larson on the day the show opened. Instead of poverty we are now dealing with the dregs of society, people afflicted by drugs and disease. Thus we have Roger, the song-writer and ex-junkie struggling with writer's block and Mimi, the beautiful junkie from downstairs, as well as Collins and Angel, both HIV-Positive. These are people who celebrate the New Year remembering those they have lost and wondering who will be next. The East Village industrial loft that is the setting for "Rent" is a place where those abandoned by the world find comfort in each other and the philosophy that there is always "No day but today." I keep coming back to the idea that "Rent" is one of those theatrical experiences we hear tell about from time to time, richly deserving of the Pulitizer Prize and well worth catching on tour.
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36 of 37 people found the following review helpful:
5.0 out of 5 stars
Even more meaning when you've lived it, November 16, 2005
I first saw Rent in 1996. That year was quite a year for me. I first tested positive for HIV, my lover died of AIDS, I was an addict at that time. and I saw Rent for the first time (the first of 6 times over the past almost 10 years). Those who claim that Rent is trite, or meaningless, that the characters aren't real clearly haven't been exposed to the things I have in my life. Rent is relevant on so many levels.
So many talk about their favorite songs from this recording, and there are so many different lists of favorites, as Rent shows we are all individuals and our spirits are all drawn to different things. Interestingly, my strongest connection is to "Will I?" I never see that listed on any list of favorite selections, but for me it is incredibly moving. For all 6 of the shows I've been to, I've been lucky enough to get the $20 "night of" seats in the front row. Each and every time, "Will I?" turned me into a sobbing mess. Why? Well, every day for the past almost 10 years, I've asked myself the same questions. They are pretty much ingrained in the soul of every HIV+ person I know. These are fears and apprehensions that touch each of our souls deeply.
The rest of the CD is also beautiful. Let's face it, this was supposed to be raw and real, and not meant to be another Phantom or Les Mis.
Finally, the reprise of "I'll Cover You" has great meaning for me. Living in San Francisco in 1996, I knew a few people in the business and was able to get the music early on. It was performed live at my lover's memorial service and I have to say it was one of the most memorable moments of my life.
Has Rent changed my life? Probably not. My life was changed enough without Rent. I will say that it has helped me to put words to my life, to things that are hard to put words to.
I can't say this CD will change your life. I can't say that this recording is still relevant to our world today. Give it a shot, you won't be disappointed.
No Day But Today....
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25 of 26 people found the following review helpful:
5.0 out of 5 stars
Revolutionizing Broadway,, May 5, 2000
Joy. Hope. Life. Love. Those are just a few of the words that come to mind when describing RENT. Others would include "brilliant", "powerful", and "amazing". Yes, the hype has been a bit much lately. The interviews, the advertisements, the talk shows. Yet RENT manages to encounter each and every one of those and still engulf the audience and all of Broadway in a sea of energy and melody, changing what was becoming a dying and stale art form. RENT has brought back the "hipness" to Broadway, but does not lose any of the theatric traditions that make up a great musical. Its complex plotline includes such Brodway taboos as AIDS, homosexuality (a part of it, but NOT it, drug use, S&M dancing, and, probably the biggest nineties Broadway no-no, substance.All that being said, the highlight of RENT, as is with any musical, is the exciting and stirring pop-rock score contained in this two hour CD. The late Jonathan Larson was able to almost flawlessly combine traditional theatre music with modern-day rock, pop, and gospel; not an easy feat. Sondheim once said that pop music and theatre can't combine because pop music does not emphasize the lyrical structure of a song. Larson has, in this writer's opinion, proved him wrong. RENT is influenced incredibly by Stephen Sondheim. The "Tune Ups", which many people hate, are genius. Larson was somehow able to do what nobody after Sondheim could do- combine modern-day vernacular with music and melody and yet still make it sound "natural". An even better examples are the songs "Light My Candle", "Happy New Year", and "Goodbye Love". Each track is a giant flowing conversation with enough melody to sing along to. But despite the influence of Sondheim, RENT also has its number of solos and ensemble numbers which, if done correct, could be hits. "Out Tonight" and "Rent" are two energetic rockers with great guitar hooks and intelligent, slightly punk, lyrics. "Without You" is a soft and beautiful melody which is likely to tear your heart out. "What You Own" has cynical lyrics like Rage Against the Machine ("When you're living in America... you're what you own") but a tune more reminiscent of Third Eye Blind, or other catchy pop-rock bands. "One Song Glory" is an amazing solo about accomplishment before death. Other highlights include: "Take Me Or Leave Me" (a soulful duet), "I'll Cover You" (a love ballad for two men), "Will I?" (a heartwrenching ensemble number about AIDS), and "La Vie Boheme" (a toe-tapping and racy song celebrating non-conformity). Interestingly enough, "Seasons of Love", the general favorite, is probably the weakest song in the whole show. It doesn't really add much to the plot and has lyrics that are only powerful when seen on stage. Sad to say, the energy in RENT (such a crucial part of the show) is very often lost in the recording. "Glory", probably the best number in the whole show, comes off as almost whiny in this recording. Adam Pascal's hoarse voice, though wonderful live, is not powerful when heard on this CD. Still, quibbles aside, RENT is a powerful show and this recording is an accomplished testimony to its brilliance. Both poignant and hilarious, one finishes listening to this CD ready to go out and make something of himself- because, after all, there is "no day but today".
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