Rent

The Australian tour of Rent is in Perth for a (sadly) very short season, with a tight, passionate production that is exciting its audiences. A talented and very cohesive cast bring this much-loved musical to life in a production that surprises and touches the heart.

Now very much a period piece, Rent is set at the height of the AIDS crisis, and it feels like a product of its time. Having said that, it still resonates, not only because we still have a need and reason for the AIDS Council in the foyer, but because of its cry against capitalism and the struggle of artists.

Dann Barber’s industrial, surprisingly complex set has innumerable modulations, with the changing look effected by the cast. A slightly Brechtian air, with the ensemble on-stage observing the action. Paul Jackson’s Grunge-Rock inspired lighting design serves the production well, as does Ella Butler’s often grungy, gritty, and arty costuming. 

Musical Director Andrew Warboys leads a strong 6-piece band from the keyboard, with the band occasionally visible at the rear of the stage - a fitting accompaniment for the plethora of excellent voices.

Noah Mullins, likeable and relatable, is outstanding in the pivotal role of documentary film maker Mark - our conduit into this world and a fabulous anchor performer. Jerrod Smith is strong as Roger, who has a tragic story arc, but given depth. Martha Berhane is a dazzling and dynamic Mimi, lighting up the stage, but also played with layers.

Carl De Villa’s Angel walks the tightrope of being larger than life, but also very genuine and believable - and was clearly an audience favourite. Tana Laga’aia’s Benny is played with nuance and strength, while Nick Afoot is an interesting, impressive Collins.

Thndo is a compelling, forthright, and intelligent Joanne working well with (and against) Calista Nelmes’ confident and arty Maureen.

A strong ensemble works well throughout - with ensemble numbers often highlights including the outstanding launch into Act II, Seasons of Love.

We have not seen Rent in the West for a decade or so, and this gritty but tight production is an outstanding incarnation, so well worth paying the rent late to see.

Kimberley Shaw

Photographer: Pia Johnson