With only 5 public performances live at the theatre - albeit with socially-distancd seating - the already much-lauded production of Rent at Manchester's Hope Mill Theatre was forced to close due to the country's second full lockdown. However, that didn't stop the team from still making the production available, and instead sold online tickets so that the show could be enjoyed by all those who did and would have bought tickets for the complete run. The online performances started being shown last week, and again, any remaining tickets went almost immediately.
I was extremely fortunate therefore to have had the opportunity of watching this online recording, filmed during the fifth and final live performance in the theatre.
The show was entirely rehearsed, created, built, performed and recorded during the pandemic, and the cast of 12 all shared accommodation together for the whole duration forming a communal 'bubble'. And the lack of average and ordinary simply didn't stop there.
I have seen this musical many times, including the original cast on Broadway (my introduction to the show way back in 1996!), and have developed a hot / cold relationship with it. My biggest gripe with the show over the years has been the inability of directors and cast to accurately bring forth a clear narrative and tell the story. There is almost no dialogue in the show, and the story is told mostly through song, but somehow, with nearly every production I have watched, directors and cast alike have seemed to think that either the story will tell itself, or assumed the audience already know it. Not here! I might be wrong, but some of the songs seemed to have been taken just a tad slower than normal by MD Chris Poon, in order to facilitate the narrative drive, and this, combined with crystal clear diction and enunciation from everyone, really made it for me. There was only one very small part at the beginning where Collins is beaten up and has his coat stolen, only to be 'saved' by Angel, which went unnoticed and lost. Otherwise, the story was much clearer and easier to follow here than in most if not all the versions I have thus far seen.
The show is set at the lead up to Christmas and takes us through the season into the Spring of the following year. We are in East Village, New York City. An area known for 'artistic types' and poverty; and also a high risk area for AIDS... the world scare virus before COVID came along. In fact, much of what happened on stage could quite easily have been relating to our coronavirus age right now, it was just as relevant and poignant. I really loved the deliberatley punctuated lyrics from Maureen's solo 'Over The Moon' in this regard.
Director Luke Sheppard actually was punctillious in his direction, and wrought every nuance out of every moment that was possible to do so, without overplay and over-dramatising. It felt natural and the gradual build to the catharsis was excellently measured. There were also a few lighter, almost throw-away moments in there too, which helped enormously to keep the tension focused. The playing area being a large square with all the ensemble sitting around three sides entering the square in character. This stripped-back, Brechtian approach to the show was perfect for the space and feel.
All 12 performers deserve the highest of praise, not only for their acting / singing / dancing abilities, but for being able to bring forth such a magnificent production under such trying and bizarre of circumstances. The choral singing was delightful, and the solos, each and every one, just blew me away. Benny's character (Ahmned Hamad) was better defined than I have seen in many productions and his trying to 'stand on the fence' between his former life and buddies, and his new life was superb. I truly enjoyed the performance of Angel (Alex Thomas-Smith). It is so tempting with such a role to push it a little too far and be overt or 'cabaret'; whereas here it was just right.. the perfect blend of reality and performer. Mimi (Maiya Quansah-Breed) also was able to bring the perfect combination of sexuality and vulnerability to her role. The two leads, Mark (Blake Patrick Anderson) and Roger (Tom Francis) worked brilliantly too, I especially enjoyed Roger's somewhat introvertedness and nervousness which was emphasied in this characterisation in a more positive and sympathetic way than I have seen before. And the whole ensemble had a completely electric feel to them as if they were living on a time bomb which might explode at any second.
If there are any tickets left then you really must try and see this show if you can!
Reviewer - Matthew Dougall
on - 1/12/20
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