Music, Lyrics and Book by Jonathan Larson

Directed by Dominic Lewis

Though often unceremoniously relegated to a ‘vintage’ Rock Opera musical, the Pulitzer Prize-winning RENT remains a legacy production, a story of genuine friendship and companionship and the preservation of love and shared experiences in the face of cruelty and disease – both literal and the societal.

A re-telling of Puccini’s La Boheme, RENT is the story of a group of struggling artists trying to survive in Lower Manhattan in the early 90s during the Aids crisis in Bohemian Manhattan. The original story was written by the late Jonathan Larson and this particular production has been produced by Edinburgh-based grass-roots theatre company Bare Productions, and is in the safe and well-experienced hands of director Dominic Lewis.

The show opens, and roommates Mark (played by Ethan Bird) and Roger (played by Nick Tomlinson) have just been informed by the owner of their building, and old college friend Benny (played by Greg Mcafferty), that they have to pay their rent for the year. So how are they going to pay the rent? As the story develops, the audience meets more characters along the way, shows the friendships and relationships of this group of creatives, and subtly shows who has HIV, and how that affects their lives.

Act Two opens with well know song Seasons Of Love, and we get to see ensemble cast members like Rosie Sugrue shine with one of the strongest and most well-defined vocals of the cast, Sugrue’s performance encompasses the productions teamwork aesthetic, tightening it all together as a unit with no single performer attempting to out-stretch and claim a significant position. Similarly, Rory McKeon’s Angel has a (brace yourself) heavenly voice as Angel with a strong, and jovial role to relish, but not one which diminishes the poignancy and power of the show, as Lewis and crew make the bold and invigorating choice to shift elements of the original. A highly welcomed and touching choice.

Back in their August home, Lewis and the team make terrifically excellent use of the limited space within the Augustines, with a well-thought-out and devised set. Spot-on, the costumes enhance the entire show and truly ignite when placed under the fantastic lighting design. Only the smallest of grievances can be drawn through the flickering audio issues which come with the venue and equipment which rear themselves, causing a few diction issues in pushing some of the more complex and intimate lyrics. But one performer who fends off any issues is Andrew Gardiner’s Collins, an utter treasure and professional through-and-through who grasps the vulnerability and nuances of the role, without sacrificing anything in return.

Utilising an incredibly talented five-piece rock band, musical director Finlay Turnbull ensures the production’s music stands up to the measure of the performers. Located just to the side of the stage, pulled together the entire performance, the musicality of RENT continues to be remarkably well-executed by Bare Productions (as if this was ever in doubt) and truly makes RENT an absolute must-see for the Fringe season. Though totally sold out, the venue always releases a handful of tickets for in-person purchase on the day but be quick. Nuanced, touching, bold and brave in their directorial choices, Bare Productions continue to inspire Edinburgh audiences with their talent, integrity, and their poignancy.