Tango: Maureen

In a bold and hilariously subversive twist on a Broadway classic, Omar Pineda and Jason Shock of the Gay Men’s Chorus of Tampa Bay brought down the house with their electrifying duet of “Tango Maureen” from Rent—ingeniously reimagined as “Tango Martin”—during the chorus’s “Say My Name!” concert at the Jaeb Theater in Tampa’s Straz Center on March 22, 2025. It was equal parts homage, parody, and pointed commentary, showcasing not only their vocal prowess but a refreshing ability to reinterpret musical theater through a queer and comedic lens.

The original number, a tango-infused duet between Mark and Joanne as they commiserate over their shared frustration with the charismatic and chaotic Maureen, was transformed with wit and flair. In this version, Maureen became Martin—a charming, maddening, emotionally unavailable man who had apparently swept both Omar’s and Jason’s characters off their feet… and straight into the same mess.

From the very first beats of the sultry tango rhythm, Pineda and Shock embodied their roles with sharp comedic timing and palpable chemistry. Their dynamic was playful and acerbic, brimming with exaggerated eye-rolls, mock indignation, and fiery footwork that channeled the original’s sardonic wit while making it freshly relevant. Whether dramatically flinging themselves into dance poses or trading cutting lines about Martin’s gaslighting, bad poetry, and “impossibly perfect hair,” the duo turned the duet into a theatrical showdown that had the audience roaring with laughter.

Vocally, both performers delivered with precision and flair—Pineda’s smooth tenor and Shock’s crisp baritone weaving in perfect sync through the number’s fast-paced, conversational rhythm. Their tango sections were performed with just the right mix of camp and choreography, embracing the over-the-top drama of their mutual heartbreak with smirking theatrical glee.

In the context of “Say My Name!”, a concert celebrating the significance of names, identity, and self-expression, “Tango Martin” fit perfectly. By flipping the gender of the original subject, the performance didn’t just make space for queer storytelling—it centered it, all while poking fun at the universal experience of falling for someone who thrives on attention and chaos. Martin may have been fictional, but his archetype was instantly recognizable to many in the audience.

The number earned one of the evening’s most enthusiastic ovations. With its mix of humor, relatability, and razor-sharp musicality, “Tango Martin” stood out as a brilliant example of how classic material can be reimagined to reflect contemporary queer life—with authenticity, joy, and a lot of laughs.