Rent

The HTP (The Howson Theatrical Production company) presented an immersive production of RENT, with book, music and lyrics by Jonathan Larson, at Blackpool Theatre Collective. This was far more than a staging of a well-known musical; it was a complete theatrical experience from the moment the audience arrived. Cast members greeted people at the entrance already in character, and that commitment continued through the interval and throughout the evening. In such an intimate venue, with the audience placed directly within the world of the piece, the company created a raw, immediate and emotionally charged production that captured the spirit of RENT with remarkable conviction.

Set in the East Village of New York City, RENT follows a group of young artists living through poverty, love, addiction, illness, friendship and loss under the shadow of HIV/AIDS. It is a demanding musical, not only vocally, but emotionally and dramatically. The story can very easily become fragmented if the relationships are not clearly drawn, but here the narrative thread was strongly held. The audience felt part of the Bohemian world of Mark, Roger, Mimi, Collins, Angel, Maureen, Joanne and Benny, rather than simply observing it from a distance.

What made this production particularly exceptional was the vision behind it. Director Freddie Howson, at just 18 years old and directing for the first time, achieved something genuinely outstanding. His concept was bold, detailed and deeply personal, but it never felt self-indulgent. Every decision appeared to serve the central idea of immersion: the way the audience entered the building, the use of the venue, the lack of separation between cast and spectators, and the constant sense that life was continuing around us. Knowing that Freddie also carried responsibility for producing, set design, prop sourcing, projection design, sound design and operation, as well as stage-hand duties, makes the achievement even more impressive. This would have been ambitious for any director, let alone a first-time director of 18, and the result showed astonishing maturity and theatrical instinct.

Immersive staging and performing in the round bring very specific challenges. There are no safe wings to disappear into, no traditional backstage area in which performers can drop character, and very few places to hide technical movement or reset props. Sightlines must be considered from every angle, and performers have to create focus without excluding any section of the audience. This company handled those challenges extremely well. The cast were always present, always active and always part of the world being created. Even when not at the centre of a scene, they remained involved through background reactions, movement, glances and stillness. That level of detail is difficult to sustain, and the discipline shown by the whole company was very impressive.

JG Lane gave an excellent performance as Mark Cohen. As the observer and narrator figure, Mark is crucial to the structure of RENT, and JG carried that responsibility with confidence and ease. He had a natural stage presence and gave Mark warmth, intelligence and emotional restraint, allowing the audience to understand both his need to document the lives around him and his own sense of isolation within the group. His vocals were excellent throughout, with strong projection, clear diction and a real understanding of the musical style. He anchored the production beautifully.

Neil McKnight was excellent as Roger Davis, bringing a believable mix of guardedness, grief and vulnerability to the role. Roger can become one-note if played only as angry or wounded, but Neil found the softer edges of the character and allowed his emotional journey to develop naturally. His vocals were powerful and controlled, with real feeling behind the bigger musical moments. His chemistry with Kate Parkes as Mimi was excellent, and their relationship had both tension and tenderness. The connection between them felt truthful and gave real weight to their scenes together.

Kate Parkes gave a superb performance as Mimi Marquez. Mimi requires both confidence and fragility, and Kate captured that contrast beautifully. She had a strong stage presence and used the close proximity of the audience with assurance, never overplaying but always drawing us in. Her vocals were impressive, full of character and emotional colour, and she made Mimi’s vulnerability feel genuine rather than theatrical. Her scenes with Roger were particularly strong, and the chemistry between Kate and Neil helped make their relationship one of the emotional centres of the production. Light My Candle was a lovely example of how well they worked together. This number is trickier than it can first appear, as it relies on a delicate balance of flirtation, humour, awkwardness and underlying sadness, while also establishing the chemistry between Roger and Mimi very quickly. Neil and Kate handled this beautifully, allowing the scene to feel natural and intimate without losing the musical shape of the number.

Amelia Wilkins brought intelligence, humour and strength to Joanne Jefferson. Joanne’s precision and control were very well played, but Amelia also allowed us to see the insecurity and frustration beneath the surface. Her comic timing was sharp, particularly in the relationship dynamics with Maureen, and her vocals were secure and expressive. She gave Joanne real authority without losing warmth.

Jade Milner was a wonderfully engaging Maureen Johnson. Maureen needs charisma, unpredictability and bold comic confidence, and Jade delivered all of this while still grounding the character emotionally. Her performance art sequence was handled with excellent energy and commitment, and she understood the heightened style of Maureen without letting it become uncontrolled. Her chemistry with Amelia’s Joanne worked very well, creating both humour and genuine relationship tension.

Tango Maureen was a real standout number for me. I had never seen it staged quite like this before, and it worked brilliantly in the space. Vocally, Amelia and JG handled the style and rhythm of the number extremely well, but it was also a choreographic highlight. The movement was sharp, witty and full of character, and Alisha Colacurcio’s choreography helped the number feel fresh without losing the humour and bite of the scene.

Thomas McLaughlin gave a very good performance as Angel Schunard, which is even more impressive given that he is only 18 years old. Angel is a demanding role, requiring charm, warmth, movement, confidence and emotional sincerity, and Thomas brought a lovely sense of joy and kindness to the character. His relationship with Collins was handled with care, and he created many touching moments without pushing too hard for sentiment. It was a confident and engaging performance from a young performer with a great deal of promise.

Blue Blezard gave a deeply moving performance as Tom Collins. His portrayal had dignity, tenderness and emotional depth, and his scenes with Angel were beautifully judged. Blue’s vocals were rich and heartfelt, and he brought a calm strength to the role that made Collins’ grief and love land with real impact. His connection with Thomas McLaughlin’s Angel felt honest and central to the emotional success of the show.

Jack Barratt was excellent as Benjamin Coffin III, giving Benny confidence, polish and just enough distance from the group to make the conflict work. At only 19 years old, Jack showed real assurance and maturity on stage. He avoided turning Benny into a simple villain and instead presented him as someone who had made different choices and was now caught between old loyalties and new priorities. His stage presence was strong, and it was also impressive to note his additional contribution as Assistant Director, supporting the overall shape and success of the production.

The ensemble were very good and played a vital part in making the immersive world believable. In a production like this, the ensemble cannot simply appear for musical numbers and then disappear. They are part of the fabric of the evening, constantly adding texture, atmosphere and life to the space. Adam Wrigley, as The Man and others, brought confidence and edge to the world of the piece. Shannon Poleon, as Joanne’s Mom and others, gave clear and committed character work, adding humour and warmth when required. Jess Kuiper, as Alexi Darling and others, brought sharpness, energy and focus, while Emma Holmes, as Roger’s Mom and others, gave a grounded and thoughtful contribution. Catherine Bradley, as Mark’s Mom and others, brought strong character detail and a good sense of contrast to the wider community around the central group. Brian Spar, as Gordon and others, contributed well vocally and dramatically, helping to build the emotional and social landscape of the show. Eleanor Joliffe, as Squeegee Man and others, brought energy and commitment to her roles, and Taylor Cheeseman, as Steve and others, showed great focus and maturity, particularly impressive at only 19 years old. Together, the ensemble helped make the venue feel populated and alive, and their commitment to remaining in character throughout added greatly to the immersive effect.

Vocally, the standard was superb. RENT is unforgiving: it requires rock-style power, close harmonies, emotional connection and stamina. The principals delivered their numbers with confidence and truth, while the ensemble singing was well balanced and full. The harmonies were particularly well handled, and the company achieved a strong, unified sound without losing individual character. Lyrics were clear, and the emotional intention behind the songs was always evident.

Seasons of Love, probably the most well-known song from the show, was delivered with real care. It gave the ensemble a chance to shine, and they rose to the occasion. The harmonies were tight, the balance was strong, and the number had the warmth and sincerity it needs. It can be tempting to over-sing such a familiar song, but this company allowed it to speak clearly and honestly, which made it all the more effective.

It is also worth acknowledging the additional vocal challenge created by the staging. Without amplification, and with the cast performing in the round, the performers had to work especially hard to project their voices clearly to all areas of the audience. For most of the evening this was handled extremely well, but by the end of the night it was understandable that some voices were beginning to show the demands of the score and the space. This is not a criticism of the vocal ability on display, which was excellent, but rather an acknowledgement of the physical demands placed on the cast by this particular staging choice. Their commitment never dropped, and they continued to give everything to the performance.

Musical Director Dan Hudson deserves great credit for the vocal arrangements and harmonies. The production used backing tracks, which bring their own complexities. Without a live band able to follow the performers, timing, pace and cueing have to be exact, and performers have less flexibility if something shifts in the room. For the most part, this was handled extremely well. The balance between tracks and voices was strong, and the cast managed the demands of the score with impressive precision. Dan’s musical work gave the production drive, shape and polish, while still allowing the rawness of the piece to come through.

Alisha Colacurcio’s choreography was very effective and well suited to the space. In an immersive production, movement cannot simply be placed front-facing for an audience on one side; it has to work from multiple angles and allow the story to continue around and among the spectators. Alisha’s choreography felt energetic, natural and purposeful. It helped create the restless, urban, communal world of RENT without feeling overcrowded or chaotic. The cast moved with confidence in a tight space, and the choreography supported the storytelling rather than distracting from it. This was particularly evident in Tango Maureen, which used the space with great imagination and became one of the most memorable moments of the evening.

The use of the Blackpool Theatre Collective space was one of the most impressive aspects of the evening. The small room meant the audience were not watching New York from a distance; they were inside it. This proximity intensified the emotional stakes, particularly in the more intimate scenes. The absence of wings or a traditional backstage area could easily have exposed the mechanics of the production, but instead it became part of the concept. The cast’s constant presence made the world feel alive and continuous.

The set, props and design details created an atmosphere that felt carefully thought through. The attention given to the little things was particularly impressive, from the New York and RENT-related memorabilia displayed on the walls to the programme itself. Rather than a traditional theatre programme, it had been designed in a newspaper style, imitating The New York Times, which was a clever and distinctive touch and helped establish the world of the production before the performance had even begun. The production had clearly considered not only what the audience would see, but how they would experience the venue as a whole. The director’s attention to detail helped make the production feel cohesive. The design never overwhelmed the performers, which was vital in such a small venue, but it gave them a believable and evocative world to inhabit.

Lighting was very well executed, and in such a small space this was no mean feat. Lighting an immersive production requires precision because the audience are so close to the action and there is little margin for error. The lighting created mood, focus and atmosphere without becoming intrusive. It helped guide the audience’s attention in a space where action could happen around them, and it supported both the intimacy and intensity of the piece. Dan Hudson’s work operating the light board also deserves recognition, particularly given the complexity of the setting.

Sound was handled well overall. In a musical using backing tracks, balance is crucial, and the production achieved a strong blend between music and vocals for the majority of the evening. The lyrics were generally clear, and the emotional storytelling was not lost. Any minor challenges were understandable given the nature of the space and the demands of the score, and they did not detract from the overall success of the production.

Production Assistant Emilija Walsh also deserves mention for her organisational contribution. In a show with no conventional backstage area, the smooth running of props, movement, cast support and transitions becomes even more important. The production had a strong sense of control beneath the apparent chaos of the world it was creating, and that does not happen without careful support behind the scenes.

The pace of the production was excellent. RENT can feel episodic if the transitions lose energy, but this performance flowed with real momentum. Scene changes and musical transitions were handled cleanly, and the immersive staging helped maintain the sense that we were watching a year in the life of this community unfold around us. The audience remained engaged throughout, and there was a palpable emotional connection in the room.

The emotional impact of the production was considerable. RENT is about love, loss, survival, chosen family and the need to create meaning in uncertain times. This company understood those themes deeply. There was joy, humour and rebellion, but also grief and tenderness. The production never felt like a tribute to or a surface-level recreation of a famous musical. It felt personal, immediate and heartfelt.

There was also something especially moving in knowing the origins of the project: Freddie’s love for the show, the memory of his friend Hannah Dixon, and his determination to create the version of RENT he had imagined. That personal drive was visible in the detail and commitment of the production, but it was matched by theatrical skill. This was not impressive “for someone young”; it was impressive by any standard. The fact that it was created and directed by an 18-year-old first-time director simply makes the achievement extraordinary.

This was an exceptional production from The HTP. The cast were incredibly strong, with no weak links among the principals, the vocals were exemplary, the ensemble work was excellent, and the immersive concept was realised with confidence, care and imagination. Freddie Howson, supported by Alisha Colacurcio, Dan Hudson, Jack Barratt, Emilija Walsh and the whole company, created something special. It was ambitious, emotionally honest, technically challenging and beautifully performed.

A huge congratulations to everyone involved in this remarkable production of RENT. It was a bold, brave and deeply affecting evening of theatre, and one that will undoubtedly stay with its audience for a long time.

 

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