Creating ‘La Vie Bohéme’ with University Theater’s ‘Rent’

“The opposite of war is not peace, but creation…”

University Theatre turns to the rock ‘n’ roll style of musicals with their version of the student production, Rent. Director John Mcilwee claims this production is for students, by students.  

“It’s their kind of musical, so I hope they come and enjoy it,” McIlwee said.

Based on the opera La Vie Bohéme , Rent has appeared off and on Broadway since the early 1990’s. It depicts the life of a group of young, struggling artists and musicians in a Bohemian lifestyle, with the underlying themes of HIV/AIDS. These themes are still relevant today.  

After countless awards, the musical was made into a movie in 2005. However, audiences should not come to experience this performance with preconceptions of the musical or the movie. This production is not, by any means, the Broadway show, but the professionalism seen in it is about as close to it as any college theatre company could hope to achieve.

While some parts are a bit rocky—as may be expected—the amount of energy and enjoyment is phenomenal for a show demanding so much of its performers. There are times where you will find yourself tapping your feet along with the music, only to be in tears during the next scene.

University Theatre combines old faces with new ones to showcase the talent of its wide variety of student ensemble. Veterans of the University Theatre stage Jillian Varner and Brett Williams create the comedic lesbian couple, Joanne Jefferson and Maureen Johnson. These familiar faces provide their own unique spin on their individual characters, as well as their partnership, to have audiences laughing and crying alongside them.

The duo of Robert Steinberg and Josie Bodle , the latter of which is making her University Theatre début , will light the spark for many audiences through the sheer chemistry of their interactions as Roger Davis and Mimi Marquez.  However, many audience members may find themselves mesmerized by the side-splitting performance of Jason Cooper as the self-confident drag queen, Angel. He presents the challenging character of Angel with unique flair, moving in platform heels that would put most women to shame.

These are just a few of the cast members who shine in this fun, raunchy show.

The atmosphere of the performance is only enhanced by the awe-inspiring technical aspects of the production. University Theatre has classes and staff devoted to building the world of the play. However, this production takes the cake by far.

The rigid scaffolding and the faux brick stoops transform Stewart Theatre into the streets of 90’s New York City. Each element of this world presented to the audience not only serves as the environment surrounding the characters, but provides functionality to break up the typical stagnate-blocking of amateur productions. Each number utilizes this space by having action on all planes of this towering structure, not to mention the symbolism of the harsh lighting against the cold metallic rods.

The physical set is given character by what seemed to be the equivalent of a laser-light show. Historically, musicals were to be more spectacle to compensate for their usual lack of plot; however, when Rent débuted on Broadway, it ushered in a new era of musicals, giving them more depth and meaning.

In this production, University Theatre meets the plot with an equally impressive display of lights, which may make some audience members feeling as if they’re on an acid trip. While not all technical aspects are up to par with these elements, with time, hopefully, they will be worked out and the production will reach its full potential.

This production engulfs the audience in the action of the play, something many performances do not take into consideration. Prospective audiences can expect to be awed by these performances, with actors coming from all angles of the theater, lighting being cast to every corner of the auditorium and sound surrounding them in this rock-and-roll style of the world of Rent.