Jonathan Larson’s Rent remains one of those musicals that feels just as relevant today as it did when it first burst onto the stage. Loosely inspired by La Bohème, it follows a group of young artists, musicians and friends living in New York’s East Village as they navigate love, friendship, poverty, addiction and the HIV/AIDS crisis. At its heart, though, Rent is about people – ordinary people trying to make the most of every day. It reminds us that life isn’t measured in years but in moments. Emotional, funny, raw and uplifting, it remains one of musical theatre’s most enduring works.

Lets be clear from the start. Rent isn’t a conventional musical, and for anyone coming to it completely fresh, it can be a little surprising. There isn’t a neatly wrapped plot with obvious heroes and villains; instead it drops you straight into the lives of a group of friends, asking you to experience their world rather than simply watch it. It tackles subjects that were groundbreaking when it premiered and, even today, can feel raw and uncompromising. It’s very much one of those shows that people either completely embrace or simply don’t connect with. Marmite if you like. Judging by the conversations I overheard during the interval and as people left the theatre afterwards, Sutton Arts Theatre had found exactly the right audience, with many discussing favourite songs and emotional moments long after the curtain had fallen.

Directed by Dexter Whitehead and Emily Armstrong, this production embraces all of those emotions. They have resisted the temptation to overcomplicate the piece, instead allowing Larson’s writing and music to tell the story while trusting their cast to deliver the emotional weight. The result is a production that feels honest, energetic and full of heart.

The first thing that struck me was the set, designed by Mark Nattrass. Industrial without ever feeling cluttered, it perfectly captured the gritty atmosphere of New York whilst remaining flexible enough for the musical’s many locations. One particularly effective touch was the use of three screens which broadcast live footage from the stage. Rather than distracting from the action, they added another dimension to the storytelling, drawing us into intimate moments before opening back out into the larger ensemble scenes. Combined with the work of Technical Director David Ashton, the production had a polished, contemporary feel throughout.

Musically, this was in very safe hands. Josh Dibble led an excellent band who gave Larson’s score all the rock energy it deserves without ever overwhelming the performers on stage. Rent is a demanding score, constantly shifting between powerful ensemble numbers and quieter, emotional moments, but the band remained tight throughout and were a pleasure to listen to. I bet they were hot! We in the auditorium had the pleasure of aircon for the performance on one of the hottest days in June history. Sadly not so the band. A huge well done, one and all, an excellent performance.

Talking of an excellent performance, the company itself worked exceptionally well together. Rent succeeds or fails on the chemistry between its characters, and there was a genuine sense that this group belonged together. Friendships felt believable, relationships developed naturally, and the ensemble created a community that was easy to invest in.

Kit Oliver-Stevens gave us a thoughtful and emotionally convincing Roger Davis, carrying the weight of the character’s past while gradually allowing us to see the hope beneath the surface. His vocals grew in confidence as the evening progressed, and his relationship with Mimi developed naturally.

As Mark Cohen, Dan McCloskey brought warmth, humour and sincerity. Mark is effectively our guide through the story, and Dan’s understated performance made him an easy character to connect with. He observed much of the chaos around him with an honesty that grounded the production.

Dean James gave Tom Collins a quiet warmth and dignity that made him instantly likeable. Tom is one of the show’s moral centres, and Dean captured both his intelligence and compassion beautifully. His chemistry with Angel felt completely natural from their very first meeting, allowing the relationship to develop with genuine tenderness rather than feeling rushed. Their scenes together were among the strongest of the evening because they never felt like two performers acting out a romance—they simply felt like two people who had found one another.

It would be impossible not to smile whenever Angel appeared. Why? Well maybe because Paul Atkins always played Angel with a smile across her face, but probably because he delivered a wonderfully charismatic performance, full of warmth, humour and generosity, yet never losing sight of the emotional depth beneath Angel’s infectious personality. His connection with Tom was beautifully judged, with the pair sharing an effortless chemistry that made every interaction believable. Their relationship became the emotional heartbeat of the production, making the joy of I’ll Cover You all the sweeter and the heartbreak of its reprise genuinely moving.

Andy Timmins made an excellent Benjamin Coffin III, finding the balance between businessman and old friend. Benny can often become a one-dimensional antagonist, but Andy gave him enough humanity to remind us that friendships are rarely black and white. Nice work with this Andy.

Prakashini Bailey gave Joanne Jefferson strength, intelligence and confidence, standing her ground whenever Joanne needed to while also revealing the vulnerability beneath the surface. Excellent vocals here Prakashini and yet more chemistry with Maureen.

As Mimi Márquez, Harriet Gordon brought plenty of confidence, attitude and energy. Her chemistry with Roger felt genuine, and she handled Mimi’s emotional journey with sensitivity, never allowing the character to become simply the stereotypical rebellious neighbour. Harriet’s singing was excellent and I really enjoyed her performance. Yes, I know I keep mentioning chemistry, but with Kit and Harriet on stage it never felt forced. You simply believed these two characters cared deeply for one another, and that made the highs feel joyful and the lows all the more heartbreaking.

Janine Henderson clearly enjoyed every moment as Maureen Johnson, embracing the character’s eccentricity and theatrical nature with confidence. Her performance piece was delivered with exactly the right amount of playful madness and was met with plenty of laughter from the audience. Did she sing blue moon, or am I thinking of something else? Great stage craft from Janine she seemed to fill the stage – Perfect for Maureen.

The supporting company deserve enormous credit too. Rent relies heavily on its ensemble to create the vibrant community of the East Village, and every performer contributed to that world. Whether leading a scene or simply populating the background, everyone remained fully engaged, giving the production a constant sense of energy and authenticity.

One of the production’s greatest strengths was its pacing. The quieter scenes were allowed time to breathe before launching into the next powerhouse musical number, and the emotional journey never felt rushed. Songs including Seasons of Love, La Vie Bohème, Take Me or Leave Me and I’ll Cover You all landed with the impact they deserve, helped enormously by a cast who clearly understood the story they were telling rather than simply singing the score.

Rent has never been an easy musical. It challenges its audience, asks difficult questions and celebrates people living life on their own terms. That means it won’t be everyone’s cup of tea, and perhaps that’s exactly how Jonathan Larson intended it. But for those willing to embrace its energy, humour and humanity, it remains one of the most powerful musicals ever written.

Sutton Arts Theatre’s production captures that spirit wonderfully. Supported by a talented creative team, an excellent band and a cast who clearly believe in the story they’re telling, this is a production full of commitment and heart.

For me, though, it was the relationship between Collins and Angel that lingered long after the applause had faded. Their scenes together were full of warmth, humour and genuine affection, reminding us that beneath all the politics, music and social commentary, Rent is ultimately a story about love, friendship and making every day count. As the company sing, there really is only one way to measure a life – in love.

Review By – David T. Mooooo!

Stop Press…

Seems I have made a mistake. Mimi Marquez was played by Harriet Gordon but also by Brooke Cooper. Sadly I’ve no idea if I watched Harriet or Brooke – I might have seen them both! If so Brooke, please accept my apologies, I’m sure you know who you are, even if I don’t! If someone from Sutton Arts could let me know, I’ll correct this review. Thanks.

David,