RENT

This is the second time I have seen this show performed and to be quite honest I still don’t fully understand the plot. That is down at least in part to the heavy Bronx accent and its nuances but also down to the sheer volume of plots and sub plots it crams into the script. Written by Jonathan Larson, it tells the semi-autobiographical story over a one-year period of a group of aspiring artists and misfits living in East Village, New York at the height of the AIDS epidemic in the 1980’s; trying to make their way in the Bohemian world they inhabit and struggling to pay their rent. Marianettes however wisely provided a detailed synopsis of the plot in the programme designed by Alan Hawkins, for which I’m sure many members of the audience were extremely grateful.

In my last review of a Marianettes show at The Trinity Arts Theatre, I stated that the traditional style show with complicated scene changes was not well served by this type of studio style auditorium. On this occasion I would state exactly the opposite, the set design by Corin Eaton and Steve Ward, which was a scaffold two level affair with two staircases, giving the impression of NY tenements, was perfect for this type of venue. The band were in plain view but neatly confined to the upstage right underneath the scaffolding. All the action took part on the same fixed set and the actors brought on the various props and furniture as required. Thus scenes flowed effortlessly and the pace was relentless, almost breathless.

The sound by Simon Barker and lighting by Valdis Bulazs was impeccable and the numerous sound queues were absolutely spot on, in fact flawless.

The excellent band, Tim Brewster (Musical Director), Rod Brand, Chris Phelps, Tom Chaplin and Dan Phillips were note perfect and played their way through 31 numbers with perfectly measured pace and professional aplomb.

The most striking thing about this show was the energy levels the cast exuded. Gone are the days when singers sung and actors acted, this cast were both a fine group of singers and a very polished bunch of actors. Their reactions when spectators, even when on the opposite side of the stage well away from the action to the unfolding dramas being particularly impressive, and demonstrated a very switched on cast fully in the groove and concentrating at all times.

Interestingly the actors were milling around on stage when the audience, a full house, were taking their seats and so the seamlessness of this play was set from moment one and, apart from the usual compulsory safety announcements, the acting simply and cleverly commenced as the auditorium lighting dimmed.  Martin Grover as Mark, a would be filmmaker and excellent catalyst around whom the story unfolds gets his 1980’s cine camera out and we are off into the first number (Tune up).  

Kevin Long as Roger the musician and would be rock star looking for his one great song showed his class as both actor and singer especially in his renditions of ‘One Song Glory’ and ‘Your Eyes.’ I assume he doesn’t actually play the guitar, so if that is the case I was very impressed with his ability to mime the guitar chords whilst singing. Very neat.

Frazer McDonald gave a very measured and sensitive performance as Collins, the bisexual partner of Angel, especially at Angel’s funeral.

But what made this cast work so well was the outstanding Jaymes Sygrove as the transvestite Angel. His performance was absolutely brilliant and cleverly judged without going into the overtly ‘comic camp,’ a trap many a lesser actor might have fallen into. The moments of tenderness, grief and passion were all measured to perfection. Also, as my partner aptly stated, there are many women who can’t walk up and down steps in high heels as well as he could.

Kirsty Newman as Mimi the exotic dancer who lives in a neighbouring apartment was a revelation, a powerful singing voice with some very difficult numbers. Often covering action on other parts of the stage, she seemed to find the right reactionary facial expression to every line she listened to.   

My stand out performance of the night has to be the director herself, Leanne Lyndsey White as Maureen, a protest artist, whose actions lead to a riot and abandoning the apartment. I said earlier the energy levels of this cast were sky high, but this lady added a new dimension to that. When she sung ‘Over The Moon’ for example the whole show went up a notch or two.

Kate Brewster as Joanne, Maureen’s new lover was no mean performer either as she amply demonstrated with her rendition of ‘We’re Okay’.

With strong support from Jake Dudley as the landlord Benny, and an ensemble of Elspeth Renfrew, Rose Layton, Olivia James and Sam Robinson this completed an exceptionally strong cast.

I note in the programme that Director Leanne Lyndsey White states that this is her first adventure into the world of directing and she ‘couldn’t resist working with this brilliant and bonkers bunch again.’ Well I would question who is the bonkers one here. Not only did she take on an extremely complicated show, but also took on a major role herself. To add to the equation her assistant director, Jaymes Sygrove was also playing a major role.  So who was actually minding the shop and watching the stage I would ask? Clearly somebody was as the end result demonstrated, with some very inventive stage directions such as, to name but one of many ideas, the presence of Angel with his back to us at his own funeral. That is a feat of achievement which would daunt most experienced directors, let alone a novice. So to pull it off in the way she did I have the deepest admiration for her skill and tenacity although she must be completely certifiable, not just bonkers, to have even attempted it. Well done indeed, a job not just well done, but exceptionally well done.

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