Opening Night verdict ⭐️⭐️⭐️⭐️⭐️
Reviewed by Nikki Cotter
When Hope Mill Theatre announced their summer revival of RENT back in January the buzz about the show quickly engulfed social media; this felt like the most perfect choice for the boundary-pushing, award-winning theatre. Punchy, loud, proud and fuelled by hope, RENT was swiftly propelled into many a ‘must-see list’; billed as the show we all needed in our lives, then…well we all know what happened next.
While the pandemic closed theatres across the country, devastating the Arts, Hope Mill Theatre never lost faith that their much-anticipated production would play to audiences this year. Safeguards were made to film the production should the worst-case scenario of a second lockdown happen and so unbelievably we find ourselves at the show’s official opening which heartbreakingly is also its closing.
The exposed brickwork and anti-Reagan graffiti of David Woodhead’s set transports us to Manhattan’s East Village where a group of young, penniless bohemians strive to live, love and create underneath the looming shadow of the HIV/AIDS epidemic. As the devastation and desperation increases so does their sense of family and the ultimate need to make a lasting mark on the world before their lights are extinguished.
Director Luke Sheppard and his team of creatives have truly embraced this piece resulting in a bold, dynamic and meticulously crafted production. The love bursts from each character while their palpable desperation combined with a spirit of defiance is as heart-breaking as it is heart-warming. There is an undeniable sense of urgency; these are stories that need to be told, experiences that need to be shared and a love that needs to be felt.
The cast sit around the stage throughout, feeling and experiencing the heartache, pain and joy of each other’s stories. Touch is infrequent, marked by a fizz of electricity as Howard Hudson’s light design flickers in reaction, making those infrequent yet delicious moments all the more powerful.
Tom Francis makes an incredible stage debut as Roger, his strong swagger is ripped away as his fear of dying takes hold, cradled collectively by the soothing ensemble of resolute voices. Blake Patrick Anderson’s Mark has a quirky sweetness, hiding behind his camcorder in a bid to save him from connecting too deeply thus exposing him to ultimate loneliness while ex-housemate Benny (Ahmed Hamad) plays a strong enemy to the bohemian life he once embraced.
Mimi’s (Maiya Quansah-Breed) strutting and sass is replaced by a heart-breaking vulnerability while Maureen (Millie O’Connell) and Joanne’s (Jocasta Almgill) fractious relationship bubbles and simmers throughout. Deeply entwined in the story is the moving relationship between HIV positive Angel (Alex Thomas-Smith) and older lover Collins (Dom Hartley-Harris) their purity and commitment to each other brings heartening joy to the piece while Hartley-Harris’ delivery of I’ll Cover You – Reprise is gut-wrenchingly brilliant.
RENT is truly an ensemble piece and is at it’s most powerful when this talented cast together with outstanding featured ensemble members Kayla Carter, Allie Daniel, Isaac Hesketh and Bethany Terry unite to deliver Larson’s anthemic score. From the iconic Seasons of Love to the stirring No Day But Today the sheer brilliance of this production envelopes you entirely. Tom Jackson Greaves’ choreography adds an edgy punch while Musical Supervisor Katy Richardson ensures the pounding score will long echo after the curtain comes down
While 2020 has been a year of unprecedented heartbreak and bitter disappointments this incredible piece stands proud, shouting from the rooftop for all to hear, not only is RENT viable it is vital; it’s pounding energy combined with gut-wrenching optimism confirming to all that the show most definitely MUST go on.
Rent is available to view online on selected dates from Friday 27th November until Sunday 20th December booking is essential tickets available via https://hopemilltheatre.co.uk/events/rent-online