When “Rent” exploded Off-Broadway in on Jan. 25, 1996, the night after the sudden death of its young composer Jonathan Larson, it seemed an unstoppable  musical juggernaut. It moved swiftly to Broadway where it remained for 12 years, earning almost every award known to theater including four Tonys and  a Pulitzer Prize.

Mark (John Raab) and Mimi (Amada Rivero-Aguero) meet in this scene from the South Bend Civic Theatre production of "Rent/"

Since that time, I have seen this MTV version of Puccini’s beautiful opera “LaBoheme” four times — three professional productions and the current South Bend Civic Theatre offering which opened last weekend and will run through Aug. 8 — as well as the film version which featured most of the original cast.

The multiple viewings were not because I was so enamoured of the show that I had to see it again and again. (And there are shows about which I definitely feel that way.) Rather it was so that (a) I might be able to understand the lyrics which, for the most part, still remain a mystery; (b) that I could find at least one memorable melody (and I do NOT consider the second act opener “Seasons of Love” memorable, just unrelenting rather like the title song from Andrew Lloyd Webber’s monochromatic “Aspects of Love”); and (c) that I could find an emotional connection with any of the characters. They are, after all, cold, hungry, addicted, impoverished, angry and lonely and many are fatally ill.

I’m still looking.

Maureen (Stephanie Salisbury) and JoAnne (Laurisa Le Sure) have an argument in this scene from "Rent."

The setting is the lower East Side of Manhattan in the days of rampaging HIV/AIDS. The characters are struggling artists —musicians, dancers, filmmakers, singers— all estranged from their biological families who find another family in their fellow  residents of Alphabet City. It is Christmas Eve and the atmosphere is bleak. The leading characters Mark (John Raab), a filmmaker, and Roger (Alex Leachman), a musician, are facing eviction by their landlord and former friend Benjamin (Benny) Coffin III (John Michels).  Mark’s lover Maureen (Stephanie Salisbury), a performance artist,  has left him for JoAnne (Laurisa Le Sure), a lawyer, while Roger, who lost his girlfriend to suicide, is searching for one great song.  He meets the love of his life Mimi (Amada Revero-Aguero), an exotic dancer, when the lights go out. Another friend Collins (Josh Griffin) finds his significant other in Angel (Fernando Gonzalez), a street drummer and drag queen.

The outlook for all is less than optomistic, but they soldier on, mostly always in high gear vocally, with a decibel level consistent with that of a rock concert. It is to the credit of the young cast that they can deliver the nearly non-stop high energy belt requirements of the show, which contains very few lines of spoken dialogue. The South Bend cast boasts some excellent voices, namely Raab, Leachman, Salisbury, Revero-Aguero, Griffin and Gonzalez plus ensemble soloists Steve Salisbury, Stephanie Berry, Anna Barncord and Kathleen Raab. They all do better with lyrical diction than most of the casts I have seen, but much of the significant “dialogue” still remains a mystery.

JoAnne (Laurisa Le Sure) and Mark (John Raab) discuss their present and past girlfriend in "Tango: Maureen" in "Rent."

Technical director David Chudzinski delivers an imaginative set which utilizes well every inch of the Warner Theatre stage and the six piece orchestra, under the direction of keyboardist Anthony Beer, is (finally!) completely supportive without being overpowering

Director David Case keeps the multi-level action moving and I was thankful for the program notations of location and action preceding each musical scene which gave brief indications of what was going on and who was doing what.

I still prefer Puccini.

“RENT” plays Wednesday through Sunday and Aug. 4-8 in the Warner Theatre in the SBCT at 403 N. Main St. South Bend. For show times and reservations, call 234-1112 noon to 6 p.m. weekdays or visit www.sbct.org.

What began as a master’s thesis by Carnegie Mellon University student John Michael Telebak moved Off-Broadway  in 1971 with new music and lyrics by Stephen Schwartz and, from there, became a staple in the repetoires of regional and civic theater companies everywhere.

Jake Klinkhammer as John the Baptist gathers the disciples in this scene from the Ramada Wagon Wheel Theatre production of "Godspell."

In case the title eludes you, it is “Godspell,” the high inventive production of which opened Wednesday at Warsaw’s Wagon Wheel Theatre, proving once again that anything old can be very new again.

Trust me. This is not your mother’s “Godspell.”

From the highly creative mind of director Tony Humrichouser with solid assists from musical director Thomas N. Stirling, choreographer Lesa Dencklau, lighting designer Greg Griffin, some modern technology and a non-stop cast of 10, it is a very new look at an old favorite.

Godspell is the Anglo-Saxon word for gospel and, loosely translated, means “good word.” The words here are very good and very familiar. The series of actions come from the Bible, primarily from the Gospel of Saint Matthew (with a definite assist from the Gospel of Saint Luke), and as the parables unfold, they mark the life and teachings of Christ from baptism to resurrection.

Gone is the clown-style makeup usually donned early on by the eight singer/dancer/actors portraying disciples. Black and white are the only costume colors for all save Jesus (Benjamin Maters), who adds a blue shirt. Jake Klinkhammer in the dual role of John the Baptist/Judas sports suspenders and a snappy fedora and is obviously more stylishly slick than the others, but still in white shirt and black trousers. And they are the only ones with character names. The others use their given names.

Benjamin Maters as Jesus and Caitlin Mesiano in a scene from "Godspell."

One of the definite challenges to any production of “Godspell” is to create a new atmosphere while retaining the unchanging  messages. Humrichouser achieves this with the use of four very large video screen which change images according to the action or emotions on stage. “Alas For You” features a montage of faces, some better known than others, each proclaiming innoccnce.

Musical underscores-for-emphasis include many melodic themes — Charlie Brown, Looney Tunes, “Law & Order,” “The Godfather,” “Chariots of Fire” — and even a tip of the toes to Tina Turner as Katie McCreary unleashes her roof-raising belt voice in “O Bless The Lord” a la “Proud Mary.” Tony’s twist on “Turn Back, O Man,” which traditionally has the singer slinking through the audiences, instead keeps Sophie Grimm center stage while ensemble members imitate an Egyptian-style frieze.

There is a great deal of laugh-out-loud humor in this “Godspell,” which offers ensemble members many opportunities to showcase their comedic abilities, while the sobering endgame brings the action — and the music — to a much more dramatic level. There is NEVER a doubt about their vocal talent. In solos, duets or choral work, they stand individually or blend beautifully, as required.

With Klinkhammer, Maters, Grimm and McCreary, ensemble members are Erica Wilpon, Ashley Travis, Nick Laughlin, Caitlin Mesiano, Matthew Dailey and Zachary McConnell. Each has an opportunity to shine and each makes the most of it, creating a “Godspell” to remember.

“GODSPELL” plays Sunday and Tuesday through Saturday in the theater at 2517 E. Center Street. For tickets and show times, call 267-8041 or (866) 823-2618 or visit www.wagonwheeltheatre.com.