Rent

It was a pleasure to visit the Cobham theatre once more, for Dynamik Theatre’s latest production.  Rent follows a year in the life of a group of Manhattan artists, living under the long shadow of AIDS.  There are love affairs, betrayals, protests, parties and riots; and, finally, tragically, deaths and resurrections.  I’d not seen the show before, and it wasn’t until almost the interval that the penny dropped – not for me, but my companion, who exclaimed “Ah, it’s ‘La Boheme’!”  I couldn’t help but also be reminded of Russell T. Davies’s TV series ‘It’s a Sin’, with which this show shares some DNA.

So, we met idealistic filmmaker Mark and his flatmate Roger, a rock musician, played with assured confidence by Aaron Gibson and Jack Higgins respectively.  These two were struggling to pay their rent to former friend Benny (Robbie Love, carefully walking a tightrope between antagonism and friendliness), as energetically explained in the titular song, ‘Rent’.  Yasmeen Shaaban made an immediate impression as their young neighbour Mimi, seducing Roger via an immaculately performed ‘Light my Candle’.  The initially uncertain but ultimately blossoming romance between the two characters, both HIV-positive, was touchingly portrayed. 

Meanwhile, their friend Tom Collins (Ed Blann) suffered a mugging but was consoled by cross-dressing drummer Angel (Jaii Andrew, whose performance suggested that if any producers of Kinky Boots are in need of a Lola, they need look no further!)  These two embarked on a parallel love affair, but with a tragic ending, as AIDS claimed the ebullient Angel.  Again, the peformances here were strong and very believable.  Angel’s death was very well done and moving, as was the subsequent funeral scene, which struck the perfect emotional note.

These characters also got involved with a protest event at which singer Maureen was performing – Steph Westwood staying exactly the right side of over-the-top.  Ellie Creedon also shone as her long-suffering partner Joanne, superbly juggling phones during ‘We’re Okay’. 

Alongside these principals were a talented and committed ensemble of eight, all of whom made the most of their small individual moments, as well as contributing hugely to the whole.  The whole cast were very impressive indeed, delivering a performance that was full of verve.  Opportunities to shine – and there were many of them – were grabbed with both hands.  They, and director Jamie Poxon (who also popped up on stage, earning an honest living), were absolutely at the top of their game. 

The direction and choreography of this show were top notch.  The cast were full of energy and fully committed, always keeping the show moving.  This felt like a very fluid performance, with plenty of movement throughout.  Even during the quieter scenes, the company avoided drifting into static moments.  The pace was therefore kept up most effectively, and there was always something happening to engage the audience. 

There were many great moments of choreography (congratulations to Caitlin Rice-Jones), but to pick out just a couple I really enjoyed the Tango-style dancing in ‘Tango: Maureen’; and the co-ordination of movement at the start of ‘La Vie Boheme’ was absolutely spot on – before the number escalated into a joyously riotous first-half finale.  Good contrast was provided by ‘Seasons of Love’, probably the most well-known song from this show, which was presented very simply with the cast lined up along the front of the stage. 

Rent, with its fast-moving, complex storyline, is quite a tricky show for an audience to get to grips with initially, and to be honest there were times when – as much as I was enjoying it – I wasn’t entirely sure what was going on.  Some of the lyrics were occasionally a little indistinct which, for a show like this where they are being used to convey the story, can make things tricky.  But I guess that is what intervals and Wikipedia are for! 

The show was staged in a good multi-level set with a strong industrial feel.  The six-piece band, led by musical director Callum Thompson, were on display throughout in the rear corner – a good job for those members of the cast who were on double duty as musicians (take a bow, Ollie Harper)!  In addition to the well-performed, complex music, there were some nice sound elements, including the occasional passing siren to help set the mood. 

Costuming was appropriate for the style and period, and well thought through – for example, the different costumes worn by Angel when in and out of drag really helped to add depth to the character. Lighting was used very effectively and well timed, enhancing the feeling of dynamism that felt like a hallmark of this show.

Congratulations to the whole team at Dynamik for a production that was genuinely of the highest quality.  As the entire cast gathered centre stage for the final number, there was a feeling of real warmth, of comradeship and togetherness, not only amongst the characters being represented but between the performers themselves.  It is rare to see such a poised, self-assured set of performances, and I take my hat off to you all.  I can’t wait to see what this formidably talented set of actors turn their hand to next.

© NODA CIO. All rights reserved.