Qué Producción Tan Bonita
Jonathan Larson’s RENT—book, music, and lyrics have lived many lives since the 1990s. Watching it now, it hits differently. It’s one of those works that—even if it feels overproduced at times—still finds a way to offer something new: a fresh reflection, an unexpected perspective, a conclusion you hadn’t reached before. New Village Arts’ production leans into that idea, revealing those small emotional pockets that have always made RENT resonate.
The story follows a year in the lives of a group of struggling young artists in New York City’s East Village during the late 1980s/early 1990s. Many of them are living with HIV/AIDS, facing eviction, poverty, addiction, and the fear of being forgotten.
Mark (Brennen Winspear), a filmmaker trying to capture the truth while feeling disconnected from his own life, and Roger (Josh Bradford), a musician searching for one last song with meaning. Their friends include Mimi (Lena Ceja), a dancer battling addiction; Collins (Van Angelo), a philosopher; Angel (Xavier J. Bush), a compassionate and community-building drag performer; Maureen (Shannon McCarthy), a performance artist; Joanne (Eboni Muse), a lawyer balancing order and chaos; and Benny (Juwan Stanford), a former friend turned landlord.
Despite the hardships, the group holds onto community, chosen family, and creativity.
Directed by Kym Pappas, this cast finds the strongest moments in its matchups. Lena Ceja and Josh Bradford make a compelling Mimi and Roger—a duo that feels in sync and also reflects Kandace Crystal’s intimacy direction. Their back-and-forth in “Light My Candle” delivers playful chemistry and emotional honesty. Ceja’s “Out Tonight” is full of confidence and sensuality, and Bradford’s vulnerability surfaces cleanly in the quieter beats.
Brennen Winspear’s Mark offers a relatable steadiness—the documentarian who keeps watching other lives unfold while trying to make sense of his own. Van Angelo’s Collins stands out as one of the warmest and most grounded presences on stage. His rendition of “I’ll Cover You” is fantastic—clear, heartfelt. Xavier J. Bush’s Angel brings charm and light, landing the emotional balance of the role.
Eboni Muse’s Joanne is sharp, defined, and consistently present. Shannon McCarthy’s Maureen is vibrant with impressive vocals, bringing color and just the right touch of unpredictability to her scenes. Their “We’re Okay” and “Take Me or Leave Me” both land strongly, crackling with tension and humor. Curtis Mueller’s lighting is a contoured force that contributes beautifully to standout scenes involving couples, fights, and, yes, protest.
Musically, the show thrives in its ensemble numbers. “Seasons of Love” has the expected impact—“La Vie Bohème” explodes with energy, also due to Tamara Rodriguez’s choreography, charged with intense moves and great use of the space, decked out by Christopher Scott Murillo’s set design and Carter Vickers’ props highlighting RENT’s grunge, East Coast look, plus cool details like concert posters and going beyond the stage through the house/auditorium which invited the audience into the “eviction friendly” building.
Even the parents’ voicemails—so easy to overlook—are a hit each time, adding humor and grounding the characters’ realities with courtesy of Jordan Gray’s sound, which amplified the moments and pumped the vocals.
Kym Pappas’s direction is soft and tender. Anything she guides is like a smooth, sweet petal—never losing structure, but inviting emotional gentleness. Hand in hand with Elena Correia’s music direction, bringing a thoughtful lens for RENT, especially in a show that often gets pushed into louder, sharper extremes. I also think the casting, with these young performers, gave this production its added vibrancy and communicated authenticity. There is also Elijah Howlett’s video, edited by Jonah Gercke, which adds a unique flair that definitely elevates the production.
Jess Moreno Caycho’s costumes included looks full of color, denim, fur, leather, and plaid—sensual but not distracting. I think Amber St. James’ wigs are the best I have seen so far: Mimi’s long curls, Angel’s braids…even the blonde wig she wears, perfection.
In the ensemble, swings and understudies—including Shelby Garza, Griffin Hanson, Tyler Martinez, Emelysse Paez, Maya Efrat, and Tommy Tran—keep the show moving with precision. Their contributions add texture, especially in the transitional and group scenes.
This RENT may not reinvent Larson’s world, but it honors it. It acknowledges the show’s history while allowing this cast to inscribe their own version. And sometimes, that’s precisely what RENT needs: not reinvention, but reflection.
Currently playing until, yes, December 24. The stage manager for this production is Nathan Waits.
Related/Unrelated: I highly recommend the signature drinks that include a cocktail and a mocktail…
