In the musical’s thirtieth anniversary year, Allana Isaacs finds Luke Sheppard’s in-the-round revival at the Tom Stoppard Theatre electric, intimate and quite possibly definitive…
Playing at the newly renamed Tom Stoppard Theatre, in the musical’s thirtieth anniversary year, I truly believe this production of RENT, directed by Luke Sheppard, will come to be known as the definitive West End revival of this genre-defining musical. Inspired by the narrative arc and core characters from La Bohème, RENT tells the story of a group of young creatives and artists living in New York’s East Village amidst the HIV and AIDS crisis of the 1990s.
The staging is powerfully minimalistic but incredibly evocative. An industrial metal loft-style set alludes to Mark’s apartment, but adapts with subtle changes such as curtains obscuring walkways, drapery for projection and lowered set pieces to create the variety of spaces required. One of the most striking choices for this revival is the on stage seating, really bringing the audience into the action, creating an intimate and captivating environment with the actors playing amongst the audience and largely in the round.
Writer Jonathan Larson, who tragically never got to see his production realised, famously wanted the audience to be able to participate in the show, and the cast in interviews have said they can really feel the audience leaning in, creating a truly shared experience. Watching from the stalls, this sense of togetherness is palpable – we are part of the emotion, be that joy or pain, complicit in both the rebellion and the suffering. It is a desperate, hopeful landscape that we find ourselves in, and the story, though tragic, is not bleak. As Mark states ‘The opposite of war isn’t peace, it’s creation’ and this empowered opportunity is evident throughout.
Lighting is used to incredible effect – candles create a sense of warmth while alluding to an inability to pay bills, while warm orange, pink and sunset hues create hope and optimism in songs such as “Santa Fe”. Gabriella Slade’s costume design takes inspiration from 90s brands such as Wrangler and Dr Martens, as well as grunge, Vivienne Westwood, and bohemian androgyny – layering and muted tones gives our characters a well worn effect, providing contrast with the suggestive clothing of Maureen and Mimi, or the joyous extravagance of drag queen Angel.
Lazy Violet as Maureen and Danielle Fiamanya as Joanne in RENT
For a show that can be loud and intense with both pyrotechnics and strobe lighting used as an impressive visual spectacle, there are moments of extreme calm and stillness that are all the more powerful for the contrast. One of the most stripped-back, simple moments comes from Billy Nevers as Collins performing “I’ll Cover You (Reprise)” which left not a dry eye in the house – his deeply resonant voice full of warmth, hope and pain. Likewise Travis Ross as Roger, yearning for his one singular moment of creative inspiration in “One Song Glory” meant my tears started rather earlier than I’d anticipated.
Gaten Matarazzo as Mark
Aforementioned Angel, played by Jeevan Braich, gives another sensational performance with eyes drawn to him whether he is centre stage or finger clapping from the side lines. And making his West End debut, Gaten Matarazzo as Mark provides the audience’s entry point into the story. Acting almost as the narrator of the action, his hand-held camera live-streamed onto screens of all sizes throughout the stage, he brings a sense of warmth and charm that invites us in and guides our focus.
The voices in this production are, without exception, superlative. There are riffs aplenty, brain tickling harmonies, and incredible characterisation especially from the ensemble who multi-role – two standouts on press night were Leah Vassell and Ryan Nixon who were given solo moments within “Seasons of Love” – undoubtedly one of the most awaited moments which opens the second act. The ensemble are pivotal in driving forward the action of this production, acting as the enabler of connection between certain characters, whether this is multi-roling as minor characters (such as parents or agents) or presenting props such as phones, candles and costumes in a choreographed manner. In lyrical dance sequences, they reflect the emotions and dreams of our principal characters, almost as a manifestation of their inner feelings. They sit in a circle surrounding the playing space for much of the production – a visual representation of support groups and community.
The choreography from Tom Jackson Greaves is mesmerising. Playing in a condensed space given the on stage audience seating, and the central revolve of the action, Jackson Greaves creates utterly captivating and compelling sequences – from moments of extreme high energy and desperation featuring props such as chairs and tables, to the sensual and tender. A high point from a production value perspective is the song “Contact” in Act 2, in which lighting, choreography and soaring vocals truly work together in harmony.
This is a production with an undeniably electric energy. There is a restless sense of propulsive forward momentum, our characters are all living on borrowed time, cognisant of their limited mortality (which is not hidden throughout the lyrics and action) and this drive gives the performance an almost jittery nervous excitement, that I am sure will not be limited to press night. Add to this the many RENT and musical theatre fans who have been waiting for this piece to return to the West End, makes it one not to miss. ‘No day but today’ for our protagonists, but thankfully for us, RENT is currently booking until May 2027. Despite a shifting socio, political and economic landscape, not to mention advances in medical care, this is a story that is still strikingly resonant and relevant, thirty years on.
RENT runs at the Tom Stoppard Theatre with bookings open until 29th May 2027. For more information, and for tickets, please visit www.rentthemusical.com.
Photos by Pamela Raith
