Rent The Musical

This beloved musical that exploded on Broadway in the mid nineties to redefine the genre is back, playing for a limited season in Brisbane. While some of the libretto is definitely showing its age, the opening-night audience at the Cremorne still connected with the themes of love, art and La Vie Bohème.

Director Tim Hill is clearly one of those people for whom the musical holds special significance. He’s approached the production with meticulous attention to detail and palpable passion. As such, he’s drawn out some outstanding work from his cast and crew.

In particular, Trent Owers shone as Angel. He was fearless, believable and lithe. Trent had a lovely singing voice and stage presence to support his acting skills. James Shaw (Tom Collins) also sang beautifully and delivered a heartbreakingly lovely acting performance, especially after Angel’s death.

Ruby Clark (Maureen Johnson) had great commitment during her art protest performance. Her bravery resulted in a much-needed, hilarious break from the heavier themes in the story.

Tom Oliver as Mark Cohen could work on using more of the resonators in his chest to avoid sounding quite so nasal when singing. That said, he carried the narrative amiably, showed first-rate dancing ability and his acting was convincing. Acting was also very strong from Luigi Lucente (Roger Davis) and Kirrah Amosa (Joanne Jefferson).

The singing was most enjoyable when all of the cast were joined in harmony. Speaking of singing, there was a stand-out performance by ensemble player Hannah Grodin in Seasons of Love. Her high notes caused some spontaneous applause to erupt from the appreciative audience. Choreography by Assistant Director Tess Hill was excellent and supported the balanced blocking from brother Tim’s direction.

As a bit of an art nerd, I enjoyed set designer Maria-Rose Payne’s nods to New York street art and graffiti culture and to Keith Haring and Jean-Michel Basquiat. Haring famously passed away due to AIDS related causes, while Basquiat died from a heroin overdose, so these were clever choices to support the narrative of Rent. Lighting by Wesley Bluff was good and definitely taken to the next level thanks to a snaking, metallic sculpture by Matt Godden that incorporated bright white lights. 

Tying it all together was some reliable musical direction from Ben Murray and the band, which we got to watch in action throughout the show. The Brechtian choice to have the band onstage and visible through the whole show didn’t pull focus. It simply added to the effect of a crowded Alphabet City where creative artists are struggling to survive.  

While the themes and storyline of Rent are definitely starting to feel a little retro and dated, the cast, crew and directors did such a great job. The Brisbane audience adored the production.

Kiesten McCauley 

Images courtesy of Matt Ward Entertainment.