Before we start this, let me note that I am still reeling in the post-cathartic daze one feels after seeing ‘Rent’ for the first time.

The absurd thought occurring to me now, seven years after the rock musical became a smash hit on Broadway: ‘This so-called ‘Rent’ idea is really something.’

And ‘la vie boheme’ that the play has historically portrayed continued brilliantly at last night’s premiere of its three-day run at the Mulroy Civic Center. The musical was carried by a handful of phenomenal vocalists and its ability to evoke an emotional response about issues that still affect counter-cultural groups, young and old.

In its heyday, ‘Rent’ spoke directly to New York City metrosexual types – drag queens, bisexual/straight men and women, musicians – the quirky, modern encapsulation of bohemia that today extends, in altered form, from New York to not-quite-mainstream people around the world. Those who live in the realm of sexual difference continue to be afflicted by AIDS. They still come together to seek solace from an unkind world and to foster creativity. For that reason, ‘Rent’ remains every bit as powerful as it was in 1996.

The new national tour of ‘Rent,’ intentionally or not, serves to remind people of the effect AIDS had on the ‘gay’ counterculture into the mid-’90s. Now, in a supposed ‘post-AIDS’ world, which is not post-AIDS at all, the play speaks to that same group and hopefully continues to let people know that the struggle against AIDS is still in full swing. Even in the gay community, the idea that AIDS has somehow abated is pervasive, but untrue – 900,000 people in the United States are currently living with HIV/AIDS, with about 40,000 new infections per year, according to the Centers for Disease Control and Prevention. Meanwhile, the widespread epidemic continues to ravage Africa.

The death of Angel (a sassed-up drag queen with AIDS), played to her flamboyant best by Damien Deshaun Smith, was powerfully portrayed by the cast in one of the play’s most sexual and deeply affecting scenes. For the rest of the show, her absence was keenly conspicuous – a testament to the subtleties deftly carried out by the cast.

An outstanding performance was offered by Syracuse University alumnus Brian Gligor, whose playful portrayal of Mark accounted for the almost flawless cohesiveness of the show. His voice was nothing outstanding, but his charisma lent a needed sense of fun to the intense emotion implicit in any good musical. And let’s not forget about that face.

Also notable was Constantine Moroulis’s execution of Roger (the bleeding-heart, guitar-slinging Casanova). Moroulis’s voice soared over all his male counterparts and drifted sweetly into perfect sync during his duets with Mimi. Marcus Paul James’s Tom Collins was flawless as well, infused with a fitting R&B style.

The show – pit band, set design and direction included – was nearly flawless. Once the effect wears off, this reviewer might just catch the play again before it leaves Syracuse.

Colin Dabkowski is a senior magazine major. E-mail him at colin@dailyorange.com

Published on October 7, 2003 at 12:00 pm