"Rent' by 11th Hour Theatre Company

Several Philadelphia theater companies stepped outside their artistic comfort zones this fall. The Arden swapped Sondheim for Brecht; the Wilma staged its first Shakespeare; and Simpatico dropped its usual social issues programming in favor of an under-produced gem by David Mamet. 11th Hour Theatre Company continues this trend with its current production of Rent. The company, long accustomed to producing small, intimate musicals, took up a residency in Drexel University’s Mandell Professionals in Residence Project. Here, the troupe wrangled a cadre of students into its staging of Jonathan Larson’s semi-autobiographical updating of Puccini’s La Bohème.

Outdated references

In choosing this musical, however, the first problem 11th Hour needed to address was why anyone other than die-hard Rent-heads would want to see yet another production. Two other Philadelphia-area companies already staged it within the past year or so. More important, this 1996 show already feels dated. References to now the discarded AIDS medication AZT, to the “turn of the millennium,” and to New York’s re-gentrified Alphabet City all preserve Rent as a time capsule of conflicts and issues that have lost much of their relevance.

Of course, any production of La Bohème lives in another era. But opera audiences accept that fact as a given for almost every show they attend. I can understand why a small theater company— especially one centered on a core team— would want to take on Rent. Two of Larson’s roles ideally suit the vocal talents of 11th Hour company members Michael Phillip O’Brien (as Roger) and Steve Pacek (fantastic, and surprisingly likeable as the normally withdrawn Mark). And Jesimiel Jenkins, who played the role of Benny in the Media Theatre’s production this past spring, could easily find regional theater work for the next decade with his slick, charismatic portrayal.

Familiar faces

Director Megan Nicole O’Brien filled out the rest of the cast with a number of 11th Hour veterans: Laura Catlaw as Maureen, Carl Clemons-Hopkins as Tom Collins, Alex Keiper playing character roles in the ensemble. But out of those who have worked with 11th Hour before, only Marissa K. Hines’s stunning vocals as Joanne justify her appearance. Among the newcomers, only UArts student Jacqueline Real’s Mimi showed incredible promise. (Given the steady flow of talent out of that theater department, whoever’s running recruitment deserves a raise.) Craig Vetter’s towering set and Joshua Schulman’s lighting astound in their ability to evoke all the locales (rundown loft, café, cabaret venue), and Lauren Perigard’s playful costumes mostly delight (especially in Angel’s drag queen outfits). Unfortunately, Megan O’Brien’s conceptualization and direction didn’t always suit the piece.

Clean, attractive junkies

The entire production lacked edge, from the clean and attractive herd of homeless junkies to the undersexed feel of characters fueled by artistic ambition while ravaged by AIDS and drug addiction. This absence of grime enabled me to appreciate the sparkling chemistry between Roger and Mimi; but here it plays out like a schoolgirl’s crush rather than a tortured affection between a heroin addict and her HIV-infected paramour. O’Brien only attains the requisite mood during two numbers: the sizzling “La Vie Bohème” and “The Tango Maureen,” where Pacek’s choreography provides a comedic assist.

This company has already charmed me with many of its past productions. Much like, say, the comedic 1812 Productions, the 11th Hour folks have coupled their usual artistic quality with the continual building of a strong community of followers. This promising company deserves credit for stepping outside its artistic comfort zone, but Rent represents merely an awkward baby step in that direction.