Comments on: Elden Street Players Rent /2010/08/review-esp-rent/ Theater Info for the Washington DC region Mon, 09 Jun 2014 20:41:42 +0000 hourly 1 By: Daniel Hurley /2010/08/review-esp-rent/comment-page-1/#comment-22284 Fri, 06 Aug 2010 20:07:31 +0000 http://www.showbizradio.net/?p=5372#comment-22284 This Anderson guy seems highly suspect. The name is ungoogle-able. And why would the Broadway production assistant MD see the same show 3 times within 7 months in the DC area? Highly suspect, zz!

]]> By: Anderson Leavitt /2010/08/review-esp-rent/comment-page-1/#comment-22247 Thu, 05 Aug 2010 16:07:08 +0000 http://www.showbizradio.net/?p=5372#comment-22247 Thanks for your review of ESP’s ‘Rent’. It is a strong production that has the potential to be a top-notch production. I saw the production this past weekend with my wife; I am a recently-relocated music director from NY, who served as the assistant MD for the Broadway production and the MD for a national tour, a few years back. Kudos to the director for the new storytelling and for trying to fix the book’s continuity. I am amazed that using a ‘two-level (tier) set’ didn’t catch on sooner. It is quite effective. However, some of the acting choices didn’t help me BELIEVE that these couples, were ‘real’ couples. In cases of Angel and Joanne–both actors were motivated and connected to the actions of their characters. Their counterparts, however, were not. We didn’t believe Collins to be carefree, loving or wise. He seemed aloof and affected. Maureen faired no better. (I can’t believe no one on the artistic team, especially the MD, didn’t bother to fix the lyrics to “Over The Moon” which many are completely wrong.) And speaking of music, there are errant harmonies in the Roger/Mimi scenes and the Roger/Mark, “What You Own”. For a show that EVERYONE has been singing since 1996. there is no excuse for errant lyrics/notes–especially for a theater of this high-caliber. The ensemble members are mostly strong, although many are not committed to the ‘action’ on stage or committed to blending their voices. Individual voices blaringly stick out in “Christmas Bells” and “Santa Fe”. Despite these issues, the production remains solid–the band, the lights and the sound are all Broadway-caliber. Why not be an amazing production? Elden Street is so close. The production is, by far, the closest to the Broadway production, in energy, concept and sound than two recent productions of “Rent” in Kensington, Maryland and DC. That is saying a lot. Again, thanks for your astute review! Great reviewers are essential to survival of this American art form. Thanks for what you do.

Anderson

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