Welcome to a new column called Channel Surfing, in which I sporadically look at current TV shows and talk about them. These are not ones that I care to write weekly recaps for and are instead reflections either on the episode, the series, or particular moments. This will hopefully help to share personal opinions as well as discover entertainment on the outer pantheon that I feel is well worth checking out, or in some cases, shows that are weird enough to talk about, but should never be seen.
The idea of Jonathan Larson's crowning achievement Rent appearing on TV seemed like an impossible feat. Yes, the recent trend of live musicals have featured tons of crowd favorites like Grease, Jesus Christ Superstar, and The Wiz, but Rent was something groundbreaking upon its 1996 release. It was a musical that depicted youth through a group of New York artists that explored LGBT themes in ways that theater hadn't seen, or at least embraced that openly. With the now iconic "Seasons of Love" song starting Act II, it was an edgy show and far from a safe show that you'd expect on Fox, even in an era of trashy reality TV. More than that, the idea of Rent exploring LGBT themes on a major broadcasting network would be a big deal, as shows are more likely to stick to a heteronormative approach. So, how did things go for the rebellious show that's turning 23 this year?
The show borrows the approach of the highly successful Jesus Christ Superstar Live that aired last year, in which actors formed on minimalist backdrops as audiences cheered them on. It's strange that it's taken this long for show to adopt the audience component, especially given that part of the joys of theater is the cheers and boos from a willing crowd. Still, where Jesus Christ Superstar Live was intimate, Rent Live sought to turn an entire warehouse into a set that was sprawling, often forcing the performers to wander rafters quickly just to get to the next set. It's an audacious aspect that plays more to the camera than any one section of the room. It's one of the few elements of the show that didn't work, though the set designs were rather spectacular when used, capturing something that felt alive. However, it was still something fragmented when the expansive space was used to capture ensemble numbers. It felt too big, and maybe took out too much of the emotion.
To some extent the subject of Rent is a bit depressing that it still resonates in 2019. There's still discrimination towards the LGBT community. However, things have advanced nicely, and it's hard to ignore the power that Larson's musical had on shifting that conversation. However, it also means that a lot of the key elements, even the dated rock guitar element of the score, still work in a live environment. The fact that a transgender character named Angel can have one of the best moments on a live broadcast, or that lesbians could be openly embraced are signs that things are changing. For all of the ambitions that hurt the show, it was still a story that remains appealing because of how it portrays the struggles of youth and creativity in a way that is infinitely optimistic, even as hurdles get in their way. The sense that there will always be a community there gives the story a heartwarming center. It helps to make the music resonate more, if just because the characters feel more realistic and flawed than musicals usually are allowed to have.
Yes, the show is partially only as good as the music. While the audience who affectionately attaches themselves to the soundtrack, it's still a version of Rent Live that has all of the highs and lows. Another issue with the expansive space is that the camera is always wandering, and sometimes in a distracting manner that removes the intimacy of the dramatic second half. It also doesn't help that the sound was often a mess and if you didn't know the words certain songs were largely muddled by enthusiastic crowds. It's one of the unfortunate perks of live broadcasts, but the fact that the cast still was giving an enthusiasm at least promised to make it a decent show. As the first commercial break suggested, the show must go on. Amid the series of flaws, the show managed to shine. It may be imperfect and likely to draw ire as a result, but having Rent Live exist breaks a certain barrier. The content may have been edited, but the heart of the show was still there.
Of course, the show's biggest issue was the unfortunate news that actor Brennin Hunt, who played Roger, broke his leg just before the live broadcast. What is seen is the dress rehearsal. Many are accusing it of being inferior because it doesn't have the same enthusiasm and focus. While this is true and the fact that it was performed live last night despite not airing that way, the show's scrappy nature shines through. Yes, it's a bit frustrating to know that a better version likely could exist out there where every flaw has been worked out. There could've even been, as there is in theater, an understudy. Yes, it would be false advertising to say that Brennin was in it, but it would keep the show going. Those in love with Rent likely take more offense to it than casual fans, as not knowing that detail could've made it less distracting.
The idea of live musicals is still a great concept and has only gotten better over time. While Rent Live in all its faults unfortunately makes it one of those middling productions, it still captures the live environment so well. With a grand set that could only work on TV, Rent Live definitely shot for the stars and brought forth something that showed true potential. For all of the changes and set backs, the fact that the show featured a game cast bringing life to every detail reflected the joys of live theater. While perfection is ideal, watching a flawed show provides a unique experience that is fascinating. Yes, live TV is different from live theater and has more investment in getting it right, but the fact is that the show somewhat saved itself to middling results. It wasn't a trainwreck no matter how many want to believe. Sure, it was a facade to call it live, but it took its faults and worked around it well enough. Because of this show, a wider audience will have seen Rent than at any time since the maligned film. There's plenty to nitpick, but what live musical doesn't? Rent is a flawed show by nature, so the fact it even made it to a highly anticipated position is an accomplishment. It isn't the greatest show to grace the recent trend of live musicals, but it has a lot of charm to offer.
The show borrows the approach of the highly successful Jesus Christ Superstar Live that aired last year, in which actors formed on minimalist backdrops as audiences cheered them on. It's strange that it's taken this long for show to adopt the audience component, especially given that part of the joys of theater is the cheers and boos from a willing crowd. Still, where Jesus Christ Superstar Live was intimate, Rent Live sought to turn an entire warehouse into a set that was sprawling, often forcing the performers to wander rafters quickly just to get to the next set. It's an audacious aspect that plays more to the camera than any one section of the room. It's one of the few elements of the show that didn't work, though the set designs were rather spectacular when used, capturing something that felt alive. However, it was still something fragmented when the expansive space was used to capture ensemble numbers. It felt too big, and maybe took out too much of the emotion.
To some extent the subject of Rent is a bit depressing that it still resonates in 2019. There's still discrimination towards the LGBT community. However, things have advanced nicely, and it's hard to ignore the power that Larson's musical had on shifting that conversation. However, it also means that a lot of the key elements, even the dated rock guitar element of the score, still work in a live environment. The fact that a transgender character named Angel can have one of the best moments on a live broadcast, or that lesbians could be openly embraced are signs that things are changing. For all of the ambitions that hurt the show, it was still a story that remains appealing because of how it portrays the struggles of youth and creativity in a way that is infinitely optimistic, even as hurdles get in their way. The sense that there will always be a community there gives the story a heartwarming center. It helps to make the music resonate more, if just because the characters feel more realistic and flawed than musicals usually are allowed to have.
Yes, the show is partially only as good as the music. While the audience who affectionately attaches themselves to the soundtrack, it's still a version of Rent Live that has all of the highs and lows. Another issue with the expansive space is that the camera is always wandering, and sometimes in a distracting manner that removes the intimacy of the dramatic second half. It also doesn't help that the sound was often a mess and if you didn't know the words certain songs were largely muddled by enthusiastic crowds. It's one of the unfortunate perks of live broadcasts, but the fact that the cast still was giving an enthusiasm at least promised to make it a decent show. As the first commercial break suggested, the show must go on. Amid the series of flaws, the show managed to shine. It may be imperfect and likely to draw ire as a result, but having Rent Live exist breaks a certain barrier. The content may have been edited, but the heart of the show was still there.
Of course, the show's biggest issue was the unfortunate news that actor Brennin Hunt, who played Roger, broke his leg just before the live broadcast. What is seen is the dress rehearsal. Many are accusing it of being inferior because it doesn't have the same enthusiasm and focus. While this is true and the fact that it was performed live last night despite not airing that way, the show's scrappy nature shines through. Yes, it's a bit frustrating to know that a better version likely could exist out there where every flaw has been worked out. There could've even been, as there is in theater, an understudy. Yes, it would be false advertising to say that Brennin was in it, but it would keep the show going. Those in love with Rent likely take more offense to it than casual fans, as not knowing that detail could've made it less distracting.
The idea of live musicals is still a great concept and has only gotten better over time. While Rent Live in all its faults unfortunately makes it one of those middling productions, it still captures the live environment so well. With a grand set that could only work on TV, Rent Live definitely shot for the stars and brought forth something that showed true potential. For all of the changes and set backs, the fact that the show featured a game cast bringing life to every detail reflected the joys of live theater. While perfection is ideal, watching a flawed show provides a unique experience that is fascinating. Yes, live TV is different from live theater and has more investment in getting it right, but the fact is that the show somewhat saved itself to middling results. It wasn't a trainwreck no matter how many want to believe. Sure, it was a facade to call it live, but it took its faults and worked around it well enough. Because of this show, a wider audience will have seen Rent than at any time since the maligned film. There's plenty to nitpick, but what live musical doesn't? Rent is a flawed show by nature, so the fact it even made it to a highly anticipated position is an accomplishment. It isn't the greatest show to grace the recent trend of live musicals, but it has a lot of charm to offer.
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