“跨越时代的歧视，与爱”

Reviewer: Zekson Tan | 陈迦笙
Performance: 10 October 2016

好的故事和剧本，即使相隔了数年甚至是数十年，在不同的时空背景下被重新演绎，依然能够带给观众满满的共鸣和感动。而《Rent》就是这么样的一部音乐剧。凭借着精彩与细致的故事和情节，这部音乐剧除了体现出对于社会边缘人的歧视和不公平，剧里Mark对于制片的执着、Roger对于写歌的热忱、Joanne坚持向不公平抗争的意志等也不断的唤起观众对于追求梦想和坚持信念的反思。

然而《Rent》对于“爱”的刻画却是这部音乐剧最精彩，也是最让人动容的元素。Roger和Mimi从误解到相爱、Maureen和Joanne这对同性情侣的分分合合以及Collins与Angel的阴阳两隔；除了饱满了整个剧情，不同角色间对于爱的追求和际遇也让观众在看戏的同时经历了爱情的各种面貌。这样的一个剧情编排也让观众有机会去感受和思考，不管是异性恋、同性恋或双性恋，所要面对和经历的“爱”其实都一样，并不会因为性别或性向的差异而有所不同。

今年已是《Rent》这部音乐剧问世的第20个年头。虽然在这20年间世界改变了许多：艾滋病不再意味着离死期不远，同性恋、双性恋及跨性别等议题也渐渐的不再那么避忌。然而不变的是，同性恋和艾滋病患者等群体如今还是得面对异样的眼光和不公平的对待。这样的一个社会现况，让这部音乐剧即使上演着的是20年前美国纽约一栋租屋内的故事，观众却还是能够把《Rent》里头的人、事、物和现时社会作连接。而剧里对于梦想、信念和爱的刻画和体现，也没有因为时移世易而让人觉得俗套或者过时。

《Rent》就好象一部时光机，把20年前的歧视和不公平以及对于梦想和爱的信念，一同承载到了现代，却不会让人觉得突兀或者不合时宜。然而，但愿未来的某天当《Rent》再次上演的时候，艾滋病患和同性恋者所遭受的歧视和不公平，只会在音乐剧里上演。而我们生活着的社会，能够一直的被追求梦想和爱的勇气给照耀着。

“No day but today”

Reviewer: Jocelyn Chng
Performance: 7 October 2016

Pangdemonium’s staging of Rent coincides with the musical’s 20^th anniversary – Rent originally opened on Broadway in 1996.  Some may of course remember Karen Mok’s stint as Mimi in the 10^th Anniversary touring production that came to Singapore in late 2005. Having watched that 2005 production and come away utterly confused (it was my first encounter with the musical, which would gradually turn out to be a life-long love affair), I find myself here, almost 10 years later, anticipating Pangdemonium’s production, directed by Tracie Pang and featuring a young, (mostly) local cast.

Musical theatre staged by local companies tends to be fraught with many problems, not least the difficulty of finding performers who can sing, dance and act equally well. However, Pangdemonium, rises to this challenge commendably. In a way, this production is an affirmation that the local pool of musical theatre talent has grown in the past 10 years. The cast, as an ensemble, is very strong – group numbers like “La Vie Bohème” and the infamously complicated “Christmas Bells” are well executed, both vocally and choreographically.

What we need to continue developing, though, is strong individual performers who can command the stage in leading roles. Mina Kaye’s performance as Maureen is breathtaking; her training at the Boston Conservatory in the past two years certainly shows. Apart from her, though, the performers in the other main roles seem to be trying with all their might to reproduce the Original Broadway Cast recording, albeit not quite successfully. In their individual roles, most of the cast are generally watchable, but lack that extra spark that would make their characters truly their own.

In line with Pangdemonium’s commitment to staging work that addresses social issues, Rent highlights issues like stigmatisation against HIV/AIDS and homosexuality. However, it does so through a rather cultural specific context (set in New York’s East Village) and slightly dated atmosphere (there is a strong ‘90s feel about the music, and the work is filled with popular culture references of the decade).

Given the above, what I truly appreciate about this staging is that Pang has decided to remain faithful to the context of Rent. Witnessing Jonathan Larson’s beautiful work in all its cultural specificity makes me to feel respected as an audience member, rather than patronised with token local references and awkward changes to the script. Transcending cultural boundaries, the work’s poignant message comes across equally, if not more, strongly – “No day but today.”