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Rent - Loved the energy of this number! And we got to hear Jordan (Mark) and Brennin (Roger) sing and interact playfully for the first time. Solid vocals all the way around on this song. (Can hear why Brennin was cast as Roger - he’s got that raspy rock voice that is just so Roger.) The reveal of Valentina’s Angel leading the Alphabet City Avant-Garde in front of the on-stage musicians for the show was everything. Kiersey’s Joanne seemed perfectly cast - Joanne felt edgier than in the past with a more youthful energy.
Seeing Brandon Victor Dixon as Collins (even this early on) it was evident that his performance was going to be amazing. From these early lines where Collins struggles after enduring a racist and homophobic attack, we were completely with him. Transported to where he was. Rooting for him and wanting safety so badly for him.
This was also where we saw Benny again (played brilliantly by Mario) in incredible 90’s fashion, talking on a giant cell phone. We saw he was friendly with cops. (And his vocal talent was undeniable, as he really played the common melodies, changing them up ever so slightly, in a way that, to us, totally worked.)
On a more serious note, we were struck by the sight of Mark and Roger literally setting fire to everything they held dear (Roger’s sheet music, Mark’s screenplays) to stay alive, as they are faced with the staggering reality that they now owe TONS of backrent they cannot pay.
Tune Up #3 - Loved the chemistry between Mark and Roger here. We loved how Roger strummed his guitar testily in response to Mark asking him if he was coming to Maureen’s show. And how Mark took that as the valid communication it was.
Here, we get much-needed background on Roger, courtesy of Mark (documentarian / narrator) who shares that Roger’s girlfriend left a note telling him, “We’ve got AIDS,” before she killed herself in their bathroom.
Since then, we can see that Roger’s been depressed and in withdrawal and can’t go out much. Mark, ever the caretaker for his friends, reminds Roger to take his AZT (a new-at-the-time treatment for HIV/AIDS) before he leaves.
You Okay, Honey? - Loved being formally introduced to Angel Dumott Schunard (and the additional context: “That’s who I’m going for this week, anyway.”) Angel spots Collins on the ground while she’s creating a Christmas tree made of street detritus. (One of her “many talents.”)
Angel is concerned for Collins, asking, “You okay, honey?” and offers him a hand up that Collins won’t take. (He admits that, while he had no money, his attackers had stolen his coat.) We loved how Angel immediately dropped her hand and gave him space, choosing this moment to disclose that her “body provide[d] a comfortable home for the Acquired Immune Deficiency Syndrome.”
Collins, though less outspoken about his own status, does disclose as well, and Angel invites Collins home to get a band-aid for his knee, so she can change in time for a support group meeting for people living with AIDS.
We loved Valentina’s vulnerable but proud take on Angel. It felt super true to the character. Brandon Victor Dixon was perfect as Collins - just assume we will be heaping well-deserved superlatives on him each and every song he’s in.
We honestly just loved Angel and Collins together. The chemistry was there from the start.
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