Booked & Scene

Jonathan Larson’s Rent, directed and choreographed by Marcos Santana, takes the stage at North Shore Music Theatre with its tale of love, loss, and chosen family in 1990s New York. Following a year in the lives of struggling artists and friends navigating poverty, illness, and identity, Rent remains a cultural touchstone and a reminder of the importance of connection in the face of hardship.

The Heart of the Show

Didi Romero as Mimi Marquez stole the show in every possible way. She performed with ease, heart, and passion, executing every moment flawlessly. It was an absolute delight to watch her breathe such fire and life into Mimi, cementing herself as the undeniable standout of the production.

Austin Turner’s Roger Davis was a wonderful counterpoint to Romero’s Mimi, grounding their dynamic with sincerity. His rendition of “One Song Glory” was heartfelt and beautifully delivered. Aaron Alcaraz brought humor and charm as Mark Cohen, but his strongest moments came in the quieter, more intimate beats where his warmth truly shone through.

In smaller roles, Rickens Anantua left a lasting mark as the “Will I” soloist, Alana Cauthen delivered a soaring “Seasons of Love” solo, and Marie Eife nailed Alexi Darling’s biting bursts of comedy. Each added richness to the overall performance with strong, confident vocals.

Moments That Found Their Spark

José Santiago’s lighting design illuminated both the stage and the actors with care, avoiding harsh shadows or obscured views. It brought warmth and dimension to the production. Jeffrey D. Kmiec’s set design also impressed, particularly the elevated platform that created a striking second level for the cast to play on. These design elements supported the show’s world without overwhelming it.

Disjointed Journeys

Unfortunately, the positives largely stop there. Whether it was an off night or a broader issue, the timing of almost every song felt off. Rent is a show I know inside and out, and the music didn’t land where it should: actors chased beats, rushed lyrics, or seemed to struggle to realign with the band, creating a disjointed experience that never fully found its rhythm.

Robert Garcia’s Angel Dumott Schunard sadly missed the mark. Their songs were consistently off key, which made for uncomfortable listening in numbers that are usually highlights of the show. Whether due to individual interpretation or direction by Marcos Santana, the performance felt uneasy and disconnected, with staging choices that didn’t serve the role or the heart of Angel. From start to finish this was a casting choice that left me scratching my head and wondering how that happened. 

The chemistry among the cast also felt lacking. Too often, moments of connection seemed forced or half-realized, as though performers were hitting blocking marks rather than living inside their characters. Staging choices in the theater-in-the-round also suffered; while placement often worked conceptually, the directions actors faced left large portions of the audience shut out of key moments.

Measuring the Moment

Overall, this production didn’t land for me. As a longtime admirer of both Rent and North Shore Music Theatre, it was disheartening to see a show I was so excited for fall flat in so many areas.

Still, Didi Romero’s performance as Mimi was extraordinary and if you already have tickets, you’ll no doubt be astonished by her work. And with this being the beginning of the run, there’s hope that timing and cohesion will smooth out as performances continue. For now, though, I left the theater wishing this Rent had delivered more of the heart and urgency that Jonathan Larson’s work demands. Rent runs at North Shore Music Theatre through September 28, 2025.

📸: Paul Lyden