Rent
Adelaide Youth Theatre
Rent is a musical set at the height of the AIDS
pandemic, exploring LGBTQIA+ themes and social issues. AYT Seniors are
unafraid to embrace the heart of the story and its challenging subject matter.
Even Mark is delivered with queer-coded energy.
Director Jemma Allen deserves praise for their sensitive and passionate approach to this material. They guided the young cast with authenticity and courage, allowing them to explore every shade of emotion the story demands. Musical Director Michael Figallo keeps the pulse of Rent beating strong, bringing dynamic energy and excellent vocal direction throughout—especially in the larger ensemble numbers. Choreographer Tayla McDougall adds just the right amount of movement to enhance moments without overshadowing the story, blending naturalistic blocking with flashes of rhythmic intensity that suit the urban energy of the piece.
Individually, the principal cast members are strong, each
given moments to showcase their talents—something Rent offers
in abundance.
Mimi, played by Asmitha Rao, delivers standout performances in “Light My Candle” and “Out Tonight,” reaching heights reminiscent of the movie portrayal. Her journey throughout the production is full of depth and direction, especially in her complicated relationship with Roger. Kudos to the team for finding a Roger—Sebastian Schulz—who can genuinely play guitar, adding authenticity to his rock-star persona. His rendition of “Your Eyes” is as stirring as “One Song, Glory” or “I Should Tell You.”
Mark, brought to life by Felix Holland, partners brilliantly with Joanne, played by Erica Obur, in “Tango Maureen,” turning the number into great fun, though I found myself waiting for the reverb at the end.
Maureen’s protest, “Over the Moon,” performed with spark and boldness by Yasmin Fitzgerald, was a major highlight of Act One. The seeds of her cheating subplot, planted in “La Vie Bohème” during the act’s high-energy, tightly executed ensemble finale, added another standout moment. This subplot set up the emotional tension between Maureen and Joanne that carried into Act Two, leading to a stripped-back yet impactful “Love Me or Leave Me,” cleverly staged with a table and scaffold. The principals and ensemble worked together fearlessly, pushing creative boundaries, while Maureen’s choices in Act Two brought layered emotion, making her a supportive presence for Collins in his moments of need.
Benny—played by CJ Wight-Simon—brought energy and passion to the stage but could have benefited from exploring their own distinct character path. While their care for Mimi in Act Two provided dimension, more development would have helped cement them as the show’s nuanced antagonist.
Angel, beautifully portrayed by Cobain Bradley, radiated love and joy, embodying everything the character represents. “Contact” was staged to perfection, using sheets, torches, and bodies to create a powerful, visceral image of intimacy and transcendence. This transitioned gracefully into “I’ll Cover You (Reprise),” which tore at the heartstrings. Angel’s reappearance in white during the finale was an ethereal moment, leaning into the afterlife imagery beautifully.
The relationship between Angel and Tom Collins—played with
warmth and sincerity by Ewerton Silva—was tender and deeply affecting,
making Angel’s death in Act Two all the more painful. Their love shone
throughout, especially in “Santa Fe” and “I’ll Cover You,” building genuine
emotional resonance. Collins’ reaction to Mimi’s near-death later in the show
was particularly moving—an honest, tearful highlight.
The Life Support group scenes were hauntingly effective in
Act One, contrasting nicely with the comedic Christmas carollers. As an
ensemble, they filled the stage with believable energy, creating a vivid sense
of New York’s Alphabet City. And of course, “Seasons of Love,” opening Act Two,
did not disappoint—it was everything the audience hoped for.
A fun, well-delivered performance came from Alexi Darling,
as played by Kate Wooding. Her Act Two appearances brought just the right
comedic timing and satirical flair.
The production used a simple set—black staging from previous
production Shrek Jr., complemented by scaffolding and selective use of
chairs and tables. Props were minimal but effectively employed. Despite
recurring microphone issues, the cast handled them with professionalism.
Lighting evoked a rock concert atmosphere, though at times excessive
backlighting made it hard to see the stage action clearly.
As someone who holds Rent close to heart, I was eager to see AYT’s take—and I wasn’t disappointed. The talent, enthusiasm, and emotional commitment of this cast truly shone through. The creative team has fostered a strong sense of community, giving the performers the confidence to inhabit their roles fully. While not a choreography-heavy show, the movement and staging choices were purposeful and precise—capturing the gritty beauty of Rent with authenticity and heart.
- Andrew Broadbent
Comments
Post a Comment