photos by Jen Gurniak In a bold stroke of theatrical alchemy, Arts Collective Theatre (ACT) has transformed the Capitol Theatre into a pulsing slice of 90s East Village with their production of RENT, which opened this past weekend (Oct. 4) and runs until Oct. 12. This isn’t just another rehash of Jonathan Larson’s iconic rock opera; it’s a visceral reminder that art, love, and community are the true currency of life.
ACT doesn’t just break the fourth wall here – it shatters expectations and rebuilds them into a glorious mosaic of human experience. Director Chris Rabideau’s vision crackles with an electric current of relevance, proving that RENT’s heartbeat is as strong as ever in our modern world of skyrocketing costs and social upheaval.
From the first strains of “Tune Up #1,” the audience is thrust into a world where art and survival dance a desperate tango. The newly constructed stage, complemented by innovative LED screens, creates a dynamic urban playground where dreams and harsh realities collide. This technical wizardry isn’t mere window dressing – it’s the pulsing artery through which the lifeblood of the story flows.
ACT’s ensemble breathes vibrant life into RENT’s eclectic characters, each performer bringing nuance and passion to their roles. Ian MacDonald’s Mark Cohen serves as our wry guide, his documentary filmmaker’s lens providing both intimacy and perspective on the unfolding drama.
Kyle Cloutier’s Roger Davis smolders with repressed emotion, his rendition of “One Song Glory” a raw exploration of artistic struggle and mortality. When paired with Marcela Garzaro’s Mimi, their chemistry ignites the stage. Garzaro’s portrayal of Mimi is a tour de force, balancing seductive energy with heart-wrenching vulnerability.
Tony Coates and Mann Maniquis shine as Tom Collins and Angel, their tender portrayal of love in the face of adversity forming the emotional core of the show. Maniquis, in particular, steals scenes with exuberant joy and poignant depth as Angel.
Kianna Porter and Alaina Kerr bring electric tension to Maureen and Joanne, their “Take Me or Leave Me” a highlight of conflicted passion. Deves Matwawana adds complexity to Benny, eschewing simple villainy for a nuanced portrayal of ambition and conflicted loyalties.
The ensemble cast deserves special mention, their collective energy elevating group numbers like “La Vie Bohème” and “Seasons of Love” into transcendent moments of community and hope. Each member – from Avonlea Smith to Ally Nguyen – contributes unique flavors to the rich tapestry of New York City life portrayed on stage.
The technical aspects of the production are equally impressive. The innovative use of LED screens creates a dynamic, ever-changing landscape that perfectly captures the frenetic energy of the East Village. The costume design deserves special praise for its authenticity to the period and its ability to reflect each character’s personality and journey.
Bryan Hindle’s choreography is also a revelation, incorporating contemporary dance elements that add layers of meaning to each musical number. The movement isn’t just decorative; it’s an integral part of the storytelling, enhancing the emotional impact of every scene. It’s a brilliant move with such tender and emotional content to draw from.
Long after the show’s closing notes, those video screens were put to use in memoriam of those lost to AIDS for show creator Jonathan Larson, with a touching nod to noteable Canadians. It was a tender moment, created by a team consisting of Bill Dileva, Mitchell Branget, Catherine Muldoon, Gene Schilling and Colm Holmes-Hill that would surely have made the strongest of the strong shed a tear. On a more subtle note, there were red balloons in the hallways meant for patrons to take and set sail in memory of all the ones they may have lost over the years. It was an act of pure love that didn’t go unnoticed.
What sets ACT’s production apart though, is its unwavering commitment to the spirit of RENT. This isn’t just a nostalgic trip to the 90s; it’s a stark reminder that many of the issues the show addresses – homelessness, addiction, the stigma of HIV/AIDS – are still painfully relevant today. By partnering with local organizations and conducting workshops on HIV/AIDS awareness, ACT ensures that their production goes beyond entertainment to become a catalyst for important conversations and social change.
Rabideau brought to life a very memorable experience and judging by the boisterous reaction of the audience, it’s one soon not forgotten. In fact, in my entire eight years of reviewing theatre in Windsor, the Saturday audience was bar none, the loudest standing ovation I’ve ever witnessed.
ACT has not only elevated this beloved musical, but they’ve created a production that will resonate with Windsor audiences long after the final curtain falls. In the spirit of Jonathan Larson’s timeless work, ACT reminds us all to seize the day, cherish our connections, and above all, to choose love starting no day but today.
RENT continues at the Capitol Theatre in Windsor with shows this coming weekend through to Oct. 12.
