Shockingly Good

CMT's Rent exceeded all of my expectations

As I wedged myself in the uncomfortable theatre seat, tired from a long day of work and a late night writing last night’s essay, I thought about how much I’d rather be at home. But I’d already rescheduled this ticket once and it was a show I needed to see.

Typically, I don’t see community theatre. I’m fortunate enough to have spent the last fifteen years watching Cincinnati’s professional companies do what they do. But occasionally, I’ll know someone in a show or there’s a title I really love and I’ll see something outside of my usual roster of theatres.

Usually, when I see something like this, I tell myself that I don’t need to write about it. What would I say, exactly? Now that I’m a member of the American Theatre Critics/Journalists Association, I wondered if I should be taking my writing even more seriously – and I certainly would not want to tear a well-intended group of amateurs apart.

But I am writing about it. And here’s why: this show is shockingly good.

Cincinnati Music Theatre’s Rent, directed and choreographed by McLean Strickland-Parr, opened with a recorded welcome from Adam Pascal. The original Roger. Recorded specifically for this company, for this production. That was the first signal that I’d misjudged what I was about to see.

The second was the opening number. Music Director Josh Toth and Vocal Director Lena Andrews masterfully led this talented cast in creating a wall of sound that filled the Jarson-Kaplan. Things just kept getting better from there.

The direction was straightforward and the show moved at a brisk pace. Strickland-Parr told the story and honored the original material. He kept the heart of the show intact. Rent is a classic for a reason, and there’s no need to reinvent something that already works. The discipline to let the story shine is its own kind of vision.

The leading players were sensational. Dakara Cooper’s Maureen was glorious. The rest – Tommy Wessendarp as Roger, Jonathan Cody White as Mark, Alyssa Magarian as Mimi, Roger Dumas, Jr. as Tom Collins, Roman Harris-Richardson as Angel — were vocally pristine and acted impeccably. Austin Hoard and Kait White-Ross’s solos on Seasons of Love were also excellent.

Typically, when I’ve seen community theatre, there will be one or two strong performances. Tonight, I saw a stacked cast of leading players with a strong ensemble and high-quality production design team.

Last night, I watched “The House on Watch Hill,” a new musical written by CMT alum, Richard Oberacker, at Ensemble Theatre. A professional house, featuring equity actors, and a cast full of musical theatre students from CCM. I figured tonight would be a let down from that. And I was OK with that.

Boy, was I wrong.

Here’s what I’ve been sitting with since the final bows: I think I need to recalibrate my expectations. The truth is, I’ve seen enough theatre to know what I like, who will be outstanding, and who will get a metaphoric pat on the head for good effort.

I’m usually right.

But sometimes, I get to be surprised.

CMT’s Rent runs through Saturday in downtown Cincinnati and is sold out. I can see why.

Kirk Sheppard is a proud member of the American Theatre Critic/Journalists Association. He writes about Cincinnati theatre—but mostly about being human. Check out kirksheppard.com for more information.