{"id":153827,"date":"2024-02-04T10:03:24","date_gmt":"2024-02-04T00:03:24","guid":{"rendered":"https:\/\/theblurb.com.au\/wp\/?p=153827"},"modified":"2024-02-11T09:24:41","modified_gmt":"2024-02-10T23:24:41","slug":"rent-touring-theatre-review","status":"publish","type":"post","link":"https:\/\/theblurb.com.au\/wp\/rent-touring-theatre-review\/","title":{"rendered":"Rent (touring) – theatre review"},"content":{"rendered":"

Like many musicals, every production of, Rent is somehow a bit different, especially as more time passes since the iconic rock musical\u2019s debut on Broadway now over 25 years ago. Rent went on to win the Pulitzer Prize for Drama (awarded posthumously to its creator, Jonathan Larson who tragically died at the age of 35, just a day before its first Off-Broadway performance) and received four Tony Awards, including Best Musical.<\/p>\n

\"\"<\/p>\n

In Brisbane kick-off of its national tour, the 2024 Australian production proves to be a perfect balance between honouring the original text and updating it to satisfy long-time Rentheads and new audience members alike. This is no easy feat given how grounded the storyline is in its time and place setting. Loosely based on Puccini\u2019s 1896 opera La boh\u00e8me (which was in turn based on the 1851 novel Scenes of Bohemian Life by Henri Murger), Rent tells the story of a group of impoverished young artists. These young people are trying to survive in Lower Manhattan\u2019s East Village in the thriving 1980s days of bohemian culture, but also the shadow of HIV\/AIDS. And while it will always serve as a reminder of a time of fear and discrimination, as we are shown, at its core this is a still a story of beautiful characters and their relationships.<\/p>\n

Struggling documentary filmmaker Mark (Noah Mullins) serves as a sometimes narrator as he captures the lives of the core group consisting of moody musician Roger (Jerrod Smith), night club dancer Mimi (Martha Berhane), now-rich sell-out Benny (Tana Laga\u2019aia), Mark\u2019s chaotic ex-girlfriend Maureen (Calista Nelmes) and her new partner, crusading lawyer Joanne (Thndo). As the story of a year in the life of the group begins, more members of the Alphabet City avant-garde are added through the arrival of lecturer Tom Collins (Nick Afoa) and drag artist Angel (Carl De Villa).<\/p>\n

The vivid realisation of their stories of struggle and joy begins energetically against a typical backdrop representing New York\u2019s East Village. Faithful as it might be to the aesthetic of the musical\u2019s early sensibility, Dann Barber\u2019s set design comes with its own marks, through use of a 3-piece multilayered platform to be revolved, broken apart and re-assembled for a range of scenes. They include the spirited, triumphant Act One crescendo of \u2018La Vie Boh\u00e8me\u2019, which is, thanks to Luca Dinardo, choreographed to perfection to provide a series of vibrant visual tableaux. And Maureen\u2019s anti-capitalist protest piece (subtly peppered with some modern US political references) is epic in scale and impact, thanks to Performance and Concept Consultant Sarah Enright.<\/p>\n

It is always about the music with Rent, as it barely breaks during the show\u2019s duration. The entire musical is brilliantly performed by a live band that is showcased from time to time from behind the Alphabet City building fronts, such as when Berhane bursts forth for Mimi\u2019s high-energy attempt to seduce Roger, \u2018Out Tonight\u2019. With musical direction by Andrew Worboys, the band not only captures, but enhances the varied musical influences within the score, finding new melodies in its titular number and a paired-back and percussive \u2018Santa Fe\u2019, yet respecting the simple harmonies of the show\u2019s Act Two opener, \u2018Seasons of Love\u2019.<\/p>\n

\"\"<\/p>\n

Ella Butler\u2019s quirky, detailed costume design also supports the storytelling through each phase of the year\u2019s journey, while Paul Jackson\u2019s lighting travels the audience from the brightness of Mark\u2019s hope for legacy through \u2018One Song Glory\u2019, to the melancholy blue of mourning that comes as part of the year\u2019s five hundred, twenty-five thousand, six hundred minutes. Evan Drill\u2019s crisp sound design electrifies the energy, ensuring that pin-drop poignant moments land with emotional resonance. Indeed, although it is energetic from the outset, the production finds poignancy in many moments, such as the \u2018Life Support\u2019 of a HIV support group meeting and the heartbreak of Mimi\u2019s stunning \u2018Without You\u2019, which sees the Playhouse Theatre filled with a silence that is broken only by audience sobs.<\/p>\n

Although all performances are all excellent, the standouts come from the portrayal of characters who enter as the story unfolds. Nelmes is an outstanding vocalist, which makes \u2018Take Me or Leave Me\u2019 a particularly powerful duet between her and Thndo, as the wacky Maureen and controlling Joanne. And Thndo\u2019s performance is one of many nuanced reactions that layers Joanne\u2019s character with additional agency. Afoa\u2019s vocals are a standout and he also hits all the required dramatic notes to capture Collins\u2019 gentleness. Similarly, De Villa\u2019s sensitivity beyond the bold of Angel, layers the character to increase audience investment in the story. The resulting sweet and tender specialness of the Collins and Angel relationship is the greatest joy of this production, in their respective enthusiasm of infatuation and then as the couple starts making plans to escape New York City together.<\/p>\n

Rent is an indisputable hit of a show, of its time but also still so much more. Under Shaun Rennie\u2019s direction, this modern classic of musical theatre continues to burn bright with energy. Along with the excitement that this engenders, there is also a comfort that comes from its focus on life and living, and ultimately uplifting messaging about forgetting regret, valuing the love in your life and keeping in mind that every day is a gift. With an immediate standing ovation and two opening night curtain calls in acclaim of the talent, passion and pathos just shared, there is certainly much to celebrated about this Rent revival.<\/p>\n

Rent is at QPAC\u2019s, Playhouse Theatre until 11 February 2024, before heading to Melbourne (February 2024), Newcastle (March), Perth (May) and Canberra (June)<\/h5>\n

Meredith Walker
\nFor more of Meredith Walker\u2019s writings on theatre, check out Blue Curtains Brisbane<\/a><\/h4>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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I discovered this 22 years ago when I saw Jonathan Larson\u2019s iconic rock musical on Broadway. That year it won the Pulitzer Prize for drama and received four Tony Awards, including Best Musical. As a self-confessed Renthead,\u2026","rel":"","context":"In "Theatre"","block_context":{"text":"Theatre","link":"https:\/\/theblurb.com.au\/wp\/category\/theatre\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2018\/05\/Rent-03.jpg?fit=1024%2C600&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2018\/05\/Rent-03.jpg?fit=1024%2C600&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2018\/05\/Rent-03.jpg?fit=1024%2C600&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2018\/05\/Rent-03.jpg?fit=1024%2C600&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":168557,"url":"https:\/\/theblurb.com.au\/wp\/cats-40th-anniversary-production-hamer-hall-and-touring-musical-theatre-review\/","url_meta":{"origin":153827,"position":3},"title":"CATS 40th anniversary production (Hamer Hall and touring) – musical theatre review","author":"Alex First","date":"January 1, 2026","format":false,"excerpt":"The 40th anniversary production of Andrew Lloyd Webber\u2019s iconic musical CATS is mesmerising \u2013 a real crowd pleaser. Superb prowling and dancing, choreographic excellence, an enticing set design and look at me performances are its hallmark. That is not to overlook moggie-appropriate costuming, attractive hair pieces and feline-friendly make-up. 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It is a production full of power, passion, poise and polish. It is a grand spectacle that starts with the anticipation of the audience that fills the vast space of Rod Laver\u2026","rel":"","context":"In "Music"","block_context":{"text":"Music","link":"https:\/\/theblurb.com.au\/wp\/category\/music\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2025\/05\/rsz_les_miserables_the_arena_spectacular_-_sydney_2025_-_hear_the_people_sing_-__photo_credit_daniel_boud.jpg?fit=800%2C534&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2025\/05\/rsz_les_miserables_the_arena_spectacular_-_sydney_2025_-_hear_the_people_sing_-__photo_credit_daniel_boud.jpg?fit=800%2C534&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2025\/05\/rsz_les_miserables_the_arena_spectacular_-_sydney_2025_-_hear_the_people_sing_-__photo_credit_daniel_boud.jpg?fit=800%2C534&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2025\/05\/rsz_les_miserables_the_arena_spectacular_-_sydney_2025_-_hear_the_people_sing_-__photo_credit_daniel_boud.jpg?fit=800%2C534&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":129445,"url":"https:\/\/theblurb.com.au\/wp\/the-producers-altitude-theatre-musical-review\/","url_meta":{"origin":153827,"position":5},"title":"The Producers (Altitude Theatre) – Musical Review","author":"Meredith Walker","date":"March 13, 2021","format":false,"excerpt":"Opening night of Altitude Theatre\u2019s production of The Producers sees the Brisbane Powerhouse foyer filled with a red carpet, media wall and much excitement in anticipation of failure. Such is the story of fading Broadway producer Max Bialystock (Matt Young), who stumbles upon a seemingly failsafe scheme to profit from\u2026","rel":"","context":"In "Theatre"","block_context":{"text":"Theatre","link":"https:\/\/theblurb.com.au\/wp\/category\/theatre\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2021\/03\/rsz_140823154_220020356486374_4137914746161717327_o.jpg?fit=800%2C533&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2021\/03\/rsz_140823154_220020356486374_4137914746161717327_o.jpg?fit=800%2C533&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2021\/03\/rsz_140823154_220020356486374_4137914746161717327_o.jpg?fit=800%2C533&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/theblurb.com.au\/wp\/wp-content\/uploads\/2021\/03\/rsz_140823154_220020356486374_4137914746161717327_o.jpg?fit=800%2C533&ssl=1&resize=700%2C400 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/posts\/153827","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/comments?post=153827"}],"version-history":[{"count":0,"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/posts\/153827\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/media\/153838"}],"wp:attachment":[{"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/media?parent=153827"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/categories?post=153827"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theblurb.com.au\/wp\/wp-json\/wp\/v2\/tags?post=153827"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}