Ever the force of nature, iconic musical Rent returns to rekindle the flame for a new generation.
In the chance that a musical theatre newcomer has happened across Man in Chair, taking this chance to share the tragedy of composer Jonathan Larson’s all too short life. Having written the book, music, and lyrics for 1996 Broadway musical Rent, Larson succumbed to an aortic dissection on the day of the first off-Broadway preview, never seeing the acclaimed Broadway opening night, the Pulitzer Prize for Drama, and the Tony Award wins for Best Musical, Best Book, and Best Score.
Produced countless times by smaller companies, this is the first local professional production of Rent since the memorable original season some 25 years ago. Deriving from a smaller scale production at Sydney powerhouse Hayes Theatre, this Australian tour sees Rent produced on an impressively grand scale, comfortably filling the capacious stage of the mighty State Theatre at Arts Centre Melbourne.
Despite the scale, the production is far from overblown, simply presenting a set of chosen family friends adrift in a concrete and steel jungle where upmarket urban renewal is rapidly encroaching upon their tenuous freedoms. The production is an overall success, yet there is a varying range of achievements from the creative team.
At the heart of the success of this staging is the lovingly insightful work of director Shaun Rennie. Jonathan Larson’s sung-through magnum opus can be unwieldy in its myriad details and yet Rennie ensures the minutiae land with clarity, focus, and affecting authenticity.
Special mention of just a couple of lovely moments: Collins first sees Angel atop a ladder, so Angel appears and descends to earth like an actual angel. Having confessed their HIV status and feelings of attraction in “I Should Tell You,” Mimi and Roger have their euphoria perfectly visualised when they are lifted and rotated on tabletops by the company.
Dann Barber’s set design surrounds the friends’ central abode with industrial scaffolding and full height rear apartment tower walls. Rennie has ensemble members turn the set pieces to bring key moments to downstage attention, greatly aiding the rapid fire storytelling. Lighting design by Paul Jackson also helps to draw the eye, and the decorative Christmas lights have the right balance of Bohemian improvisation.
While direction and performances are strong, establishment of characters is done no favours by Ella Butler’s drab costumes. When designing for a 2000-seat theatre (or even, for that matter, a 200-seat theatre), distinctive looks go a long way to aiding character identification by newcomers, who are sure to be plentiful.
Unlike, say, In The Heights, Rent is no dance show. Luca Dinardo has over-choreographed the work, often featuring busy movement that has little, if any, root in character. In a key successful sequence, lively choreography helps make act one finale “La Vie Bohème” a vivid joy.
Musical director Andrew Worboys leads five fellow musicians in the rocking on-stage band. In a classy, well-deserved touch, each musician has their headshot and bio in the souvenir program.
Supporting character Collins comes to the fore thanks to the expertly calibrated and superbly sung performance of Nick Afoa. Tenderly slowed down, Afoa’s delivery of eulogy “I’ll Cover You (Reprise)” is beautifully moving. Rising performer Carl De Villa is a delight as dear Angel, bringing abundant humour to the cherished drag artiste.
Somewhat stymied by dreary costumes, Jerrod Smith nevertheless brings jaded rocker Roger to life, largely due to his expressive and powerful vocals. Martha Berhane sparkles as Mimi, vocally and visually conveying the tantalising appeal of the young performance artist.
Rennie’s sensitive direction pulls no punches from the tragedy of HIV-positive people at he time, with De Villa and Berhane particularly convincing and affecting in portraying their characters’ plights.
Burgeoning leading man Noah Mullins trades upon his fresh-faced look to appear convincingly as an outsider to the core group. Mullins clearly conveys Mark’s affection for his found family and the vulnerability of his frustration at not being able to do more for everyone other than record their stories.
Thndo brings a gracious presence to lawyer Joanne, her performance rising across the night to come to a high point in feisty duet “Take Me or Leave Me.”
In a highly auspicious Australian debut, Calista Nelmes is a knockout as passionate protestor Maureen. Protest piece “Over the Moon” can often be tedious but in Nelmes highly capable hands it is freshly thrilling, the sense of danger boosted by the perilous staging. Following the protest Nelmes maintains Maureen’s magnetic charisma in the group, going on to deliver further powerhouse vocals.
Filled with covers for the eight lead roles, the ensemble is packed to the brim with talent, ensuring that featured roles are delivered impeccably. A couple of standouts are Hannah McInerney vibrantly delivering the voicemails of Alexi Darling and Sam Richardson as troubled New Yorker Gordon in “Life Support.”
The Melbourne musical theatre fan who has not seen Rent may be a very rare species but RENT-heads and newcomers have plenty to enjoy in this generous, terrifically performed revival.
Rent plays at State Theatre, Arts Centre Melbourne until 7 March 2024. For tickets, click here.
Rent plays at Civic Theatre, Newcastle in March 2024. For tickets, click here.
Rent plays at His Majesty’s Theatre, Perth in May 2024. For tickets, click here.
Rent plays at Canberra Theatre in June 2024. For tickets, click here.
Photos: Pia Johnson