Rent: Original Motion Picture Soundtrack

(Warner Brothers)

4/5 Stars



When listening to the new “Rent” soundtrack, the first thing diehard fans will try to ascertain is whether the new recording is unique enough to merit an addition to their collection, right next to the 1996 recording by the original Broadway cast. The uninitiated may wonder what all the fuss is about and which soundtrack album they should get.

“Rent” fans were overjoyed when the Justin Timberlake casting rumors were denied and it was announced that Chris Colombus’ long-awaited film version of Jonathan Larson’s Pulitzer Prize-winning musical would feature the majority of the original Broadway cast.

Prior to the film, this talented young group had gone their separate ways, starring in Broadway musicals such as “Aida” and “Wicked,” in films such as “Chicago,” and in various television shows, including “Law and Order” and “Ally McBeal.”

While most cast members jumped at the chance to reprise the roles which they premiered, there are two notable exceptions. The role of Joanne, originally played by Fredi Walker, is now being played by Broadway veteran Tracie Thoms.

Drug addict/stripper with a heart of gold Mimi Marquez is played by Rosario Dawson, who, while a well-known actress, is a musical theater novice. Dawson is arguably one of the biggest names in the production, but many were uncertain whether she could hold her own beside such a formidable Broadway lineup.

Thoms certainly lives up to Walker’s performance as Joanne, surpassing expectations in some places. Clearly well-trained for musical theater, her solo in “Seasons of Love” will impress even diehards.

Dawson’s performance is slightly more debatable. She takes her character in a vastly different direction than the original actress Daphne Rubin-Vega, replacing Mimi’s usual raspy vocals with a much smoother, sweeter tone. Admittedly, the change is somewhat distracting, especially in Mimi’s first appearance, the innocently romantic duet “Light My Candle.” But Dawson’s approach begins to shine soon enough; by the time of Mimi’s big solo number “Out Tonight,” Dawson has made the character all her own.

The adaptation of “Rent” from stage to screen led to song order being rearranged, the time frame of the plot being altered, and an overall shortening. The biggest change from the original is the addition of spoken dialogue. On stage, “Rent” is essentially an opera; very few lines are spoken, and the entire plot can be followed through the songs.

In the film version, much of the dialogue is removed from the soundtrack. The result is shorter, but certainly less cohesive. For audiences unfamiliar with the musical’s plot, who hope to decipher it from the music, the original Broadway cast recording is far superior.

But what about those of us who are in it for the music? Is this new soundtrack worth the time of loyal fans who know the plot, the roles, even the choreography, from memory? As shocking as it may sound, my answer has to be yes.

The disc does have a few missteps. Mark and Roger’s introspective “What You Own” seems flat; it has lost the grit of the original recording. Several verses of the otherwise serviceable “La Vie Boheme” are inexplicably rearranged.

The soundtrack also includes the bonus track “Love Heals,” written by Jonathan Larson for an organization promoting AIDS education while he was writing “Rent.” Sadly, the track is cheesy, uneven in pace, and simply out of place. A tribute to Jonathan Larson is a great idea, but this special track doesn’t hold a candle to Stevie Wonder’s version of “Seasons of Love” from the 1996 soundtrack.

But with only a few exceptions, the entire cast approaches this new recording with a new maturity. Older and wiser, Anthony Rapp and Adam Pascal have refined their performances while maintaining the quirky characters of Mark and Roger, respectively.

Idina Menzel, fresh from her Tony Award-winning performance in “Wicked,” breathes new life into her hyperbolic rendition of “Over the Moon,” reimagining it as an inside joke for “Rent” fans.

Jesse L. Martin and Wilson Jermaine Heredia do the seemingly impossible, adding even more depth to the relationship between characters Collins and Angel. Martin’s performance in “I’ll Cover You (Reprise),” excellent on the original recording, is simply awe-inspiring this time around.

Even Taye Diggs, reprising the small role of Benny, does his best Usher impression in several short but memorable appearances. This soundtrack delivers a fresh sound from a group of refreshed veterans, as good as they have ever been.