Rent at Tom Stoppard Theatre

Musicals are not only for happy stories or cheerful narratives with a sudden sad finale. Taking its cue from a rather ordinary “duty”, such as making a tenancy payment, Rent explores relationships and community while staying upbeat and moving. That has much to do with Jonathan Larson’s brilliant composition and, in this production, the outstanding vocal performances of the cast.

Mark (Gaten Matarazzo), a budding filmmaker, shares his room with rock musician Roger (Travis Ross), who has lost his muse and his energy to embrace life. The landlord, Benny (Joaquin Pedro Valdes), demands the overdue rent, and the duo tries to work out how to scrape together the money they don’t have. On his way to meet his friends, Collins (Billy Nevers) falls in love with Angel (Jeevan Braich), a drag queen and street drummer. In the meantime, Mark joins his ex-girlfriend, who is about to stage a protest performance, while Roger, staying at home, is visited by Mimi (Alexa Lopez), a dancer at the Life Cafe. This makeshift family, united against gentrification while celebrating La Vie Bohème, is also deeply affected by HIV, which silently – both within the body and through the social taboo surrounding the disease – breaks apart and threatens relationships.

Matarazzo’s name (joining the wave of Stranger Things cast members coming to London’s theatreland) on the bill no doubt must have drawn a lot of attention. The actor delivers a sleek turn, keeping up with the changes in scene and pace with gusto – particularly hilarious is Tango: Maureen. There was, however, already quite a crowd of expectant theatregoers awaiting the show’s return to the West End since its curtain call in 2017. And it couldn’t have come at a better moment, coinciding with the 30^th anniversary of its Broadway premiere. Medical advances may have made AIDS less of a taboo and people affected by it less likely to be ghettoised, but that same tragic cycle is still easily set in motion by any condition that feels perilously different – virus, status, gender, race. In a nutshell: the timeless value of Rent, which, through music – the score featuring so many varied tropes that there is little chance of getting bored – weaves together poetry (notably Seasons of Love, heartwarmingly led by Leah Vassell) and social issues.

The star of the stage is Braich, with an upbeat portrayal and a heart-wrenching Contact, so delicately staged while offering a striking representation of the ethereal disappearance caused by HIV. Ross is wonderfully expressive, giving the musical the right burst of energy at the beginning with the rock-driven opening number, Rent. In this mix, it would have been fitting to see a Mimi more fully blended into the ensemble and given a little more nuance.

Director Luke Sheppard – who has a track record of successful West End shows (Paddington: The Musical, Starlight Express, & Juliet) – delivers an energetic production, with a sinuous and harmonious dynamic going on throughout. Tom Jackson Greaves’s choreography makes movement feel like dance, and dance like movement. Gabriella Slade’s costume design is meticulous, but too often taken over by an overemphasised raggedness that bizarrely jars with the few signs of wealth.

Even without much in the way of freshness, and with moments of unevenness in the acting, this revival makes up for it with stunning vocal displays and a certain verve on stage.

Cristiana Ferrauti
Photos: Pamela Raith

Rent is at Tom Stoppard Theatre from 26^th September until 29^th May 2027. For further information or to book, visit the theatre’s website here.

Watch the trailer for Rent at Tom Stoppard Theatre here: