‘RENT’ review
‘a testament to love, connection and community, reminding us of the importance of the arts and how we choose to live it, for ourselves and for others’
In a time of such widespread political and socioeconomic divide, Bailey Theatre Company’s RENT towers much above the necessity of its messaging, in the absolute finest manner it possibly could. This musical follows the lives of a struggling group of artists amidst the HIV/AIDS crisis, emulating the Bohemian lifestyle that utterly thrives in the undercurrent of its ‘90s rock score. Under the direction of Maisie Donohue and Toby McTurk (assisted by River Blatch), the creative execution of this piece could not have been a simplistic one for student theatre; nevertheless, the delicacy with which this vision is handled is nothing short of impressive. It is clear through the visionary directions made throughout the show – for instance, the spectacle nature of the first act through the watchful presence of the ensemble, to the emptiness that remains by the second act – that the directive team understand and truly honour this piece.
No sung-through musical could possibly be subject to such praise without its musical direction, led masterfully by Samuel Allan (assisted by Rose Seymour). For a theatre scene that rarely delves into this musical format, the passion and complexity harnessed by Allan and Seymour glistens with every perfect harmony, for which much credit should be given. Furthering this, Eva Ryan’s stage management (assisted by Anna Brzezinski and Anj Karia) made what could have been clunkier scene transitions into ebbs and flows of gorgeous consistency between numbers. Though occasionally stage crew would enter into more poignant scenes on the stage, this did not detract much at all.
The technicalities of the production can be commended to Jonathan Wilson-Downs’ cohesive production management, assisted by Carlos Davies. The lighting, designed by George Murray and assisted by Bee Wilkes, encompasses a stunning mosaic of pastel colouring to backdrop most scenes. Within quieter moments, spotlights are projected, reinforcing the core character-driven nature of the show. With this being said, the importance of this narrative form was often downplayed by mics not being on and an imbalance of sound mixing between the cast and the band, leaving some sections of dialogue and song incomprehensible. Despite this, the sound design from George Jones (assisted by Elizabeth Wooldridge Smith) absolutely reflected the wonderful talent of the cast and band in moments where voices and instruments soared throughout the theatre.
What was most captivating to me above all was the phenomenal set design from Libby Simpson, bringing the Manhattan suburbia to life in the Assembly Rooms space. For a show as large and dynamic as this one, it would have been wonderful to have seen this production in a larger space to obtain a greater feel for immersion, but with what space is provided, it is used up masterfully. A beautiful aesthetic is created between lighting and set, making one of the most visually stunning performances I have witnessed in the Assembly Rooms. These features go hand-in-hand with the projections, designed by Sarah Johnston, which further the emotional heart of the show in its final sequence (go see for yourself!).
As the primary leads of the show, Mark (played by Moritz Afridi) and Roger (Adam Johnston) enabled such astounding energy as a pair, with their duet ‘What You Own’ conveying the ultimate showcase of excellence. Where Afridi brought a stunning vocality and life to Mark, Johnston deeply conveyed the storytelling of his struggle for love in himself and others, both pushing for an endlessly engaging performance. Luna DiLandro, playing Mimi, complemented Johnston’s portrayal with a more subtle nuance, making for a convincing and tragic narrative line to follow.
A phenomenal standout performance was delivered by Rishika Senevirathne, playing Maureen. The energy and conviction with which Senevirathne dedicated to this role was electrifying, making the fact of “an actor playing a role” easy to forget. Her dynamic with Maiwa Banda, playing Joanne, was effortless, and their individual vocal talents meshed beautifully in their duet ‘Take Me or Leave Me’. Where it could be easy for Joanne’s stoicism to be the sole portrayal of the character, Maiwa rejected this notion by harnessing many different dimensions into her character performance – not an easy feat!
As Collins, Matthew Lo oozed brilliant comedic timing, making his more sombre moments entirely gut-wrenching. Lo’s chemistry with James Flemming, playing Angel, was beyond a gorgeously heartfelt dynamic. Flemming’s ability as a performer shone in this role, forming Angel’s turn in the second act (aided by the intricate choreography from Amanda Powers and thought-provoking costume design by Harriet Miller) into a haunting masterpiece. As Benny, Harry Easton embodied the conflict of his character remarkably, accompanied by an impressive vocal performance.
However, no show can be this remarkable without its ensemble. Made up of seven members, they conveyed an astonishing medley of humour, vocal talent, emotion and physicality that tore into the heart of the audience from start to finish. They worked effortlessly with the band, who wonderfully emulate the ‘90s rock genre likewise to musicals such as Spring Awakening or American Idiot. Their ability to endlessly play throughout with such energy was absolutely commendable.
There could be no greater show to round off the 2025/26 Durham Student Theatre season than RENT. It is a testament to love, connection and community, reminding us of the importance of the arts and how we choose to live it, for ourselves and for others. Despite its occasional wobbles, this performance does not shy away from the authenticity of its subject material, which is felt by every aspect of direction, performance, technicality, and instrumentation. There is No Day But Today (…or tomorrow) to go and see this wonderful show!
By Arthur Hamilton.