Rent

When a stage musical achieves, at multiple moments, the kind of electricity and warmth that Marie Clark's production of Rent does, one naturally wants to offer a wholehearted recommendation to get along and see it.

Unfortunately, this reviewer is not enamoured of the text itself, feeling Rent to be a well-intentioned but problematic piece of theatre. It is burdened by a choppy narrative that lacks engagement, characterisation that tends toward the shallow, and too many musical numbers that feel frustratingly fragmented. Rent may be a cultural touchstone, but it is one that seems to have lost much of whatever power and poignancy it once possessed.

It is to the credit of the performers assembled by director Mark Stefanoff that they collectively manage to generate something special; something that, ultimately, is greater than the sum of Rent's separate parts. Ensemble numbers simply sparkle with energy and harmony, though the essential ragged nature of the characters is skilfully retained in the process. The glory generated by the best of the ensemble work here is a strong enough reason in itself to see this show.

There are also a number of individual highlights among the cast, not the least of which is the director himself playing Angel in the very definition of a show-stopping portrayal. Damien Quick is sweetly engaging as film-maker Mark, and Anton Schrama (in the role of musician Roger) once again displays versatility, magnetism, and charisma on stage. Jennifer Trijo's Mimi is a beguiling blend of wry humour and warm sensuality, not to mention dulcet vocal tones.

Ron Abelita succeeds in subtly conveying the smug superiority of landlord Benny. Though Jonathan Larson's scripting tends to leave her character short-changed, Sarah Whitely works hard to make lawyer Joanne both memorable and three-dimensional (aided by Whiteley's considerable lung power!) Fiona DeLaine and Angus Birdseye round out a very capable cast, while Shay Aitken and Sarah Wildy make an impressive and amusing impact in their brief comic interlude early on.

Musical highlights include "One Song Glory", given a superb rendition by Schrama that surges with understated emotion. The pastiche of Christmas Bells is, lyrically and musically, one of the wittier sequences. The Fosse-inspired writhing and stripping of "Contact" is genuinely (though fleetingly) erotic, and the Roger-Mimi duet "Without You" manages to be moving, despite misguided staging that distracts from the song.

"Seasons of Love" is well-enough known by now that it ought to feel stale, but it's still an arrow in the heart and a surge of sheer joy, all at once! "Over the Moon", though, comes across as an inexplicable indulgence, despite also being some kind of virtuoso achievement as presented by DeLaine in the role of performance artist Maureen. She and Whiteley leave a far more satisfying impression during their physically and vocally dynamic duet "Take Me or Leave Me".

The five-piece band's arrangements (under Ben Stefanoff) are never less than competent, but they often leave Rent feeling musically small, without managing to compensate through intimacy or intensity. Occasional opening night mic drop-outs and crackle were momentarily distracting, though generally not damaging.

The open-plan set allows for ease of movement, as well as flexibility in staging, but tends to limit visual interest, which the lighting design strives to generate instead - with, at times, strikingly successful results. The costuming is a triumph, going a long way toward establishing a fun and sensual atmosphere; Maureen's star-strewn sleeves and shoes are a particularly sparkling example of the designer's creativity.

The restless nature and fragmented structure of Rent - both dramatically and musically - may well accurately reflect the emotional and cultural condition of a certain generation of young artists and bohemians. The show has spoken loudly and clearly to theatre-goers around the world, and even though this reviewer is not a 'Rent-head', it is always gratifying to see an amateur theatre company choosing not to play it safe. Whatever its flaws, Rent walks on the wild side.

Anthony Vawser

Photographer: Daniel Salmond