Rent - Springers AOD, Chelmsford

Springers’ production of Rent at the Studio Theatre, Chelmsford, is a bold and ambitious staging of Jonathan Larson’s much-loved musical, tackling themes of love, friendship, addiction, sexuality, poverty and, ultimately, the devastating impact of the AIDS crisis.

The set was particularly clever, making the most of the limited stage space while still creating a strong sense of height and depth throughout. This, combined with some intelligent lighting choices, helped establish the atmosphere and changing mood of the piece extremely effectively.

As Mark, Jonathan Newman-Schultz provided a solid presence throughout. As the narrator and observer of much of the action, he gave the production a strong benchmark around which the rest of the story could unfold.

Allister Fudge-Smith, as Collins, brought a softer and more romantic interpretation to the role. There was some lovely vocal work here, coupled with a genuine sense of raw emotion. He was particularly well paired with Daniel Newman-Schultz, who took on the notoriously difficult role of Angel and carried it off extremely well. Their relationship was both touching and believable, bringing plenty of warmth to the production.

Jacob Burtenshaw, as Benny, offered a softer side to the character than I have seen previously. While this interpretation was certainly interesting and one I didn’t dislike, it did mean that Benny didn’t come across quite as much as the villainous figure he is often portrayed as.

Sophie Holmes, as Joanne, and Lexy Motchman, as Maureen, were both strong performers. Lexi’s vocals never failed to impress, and the spark between the two was particularly evident in their duet, which was undoubtedly one of the highlights of the show.

For me, though, Adam Jonathan Fletcher, as Roger, was the one to watch in this production. His rock vocals were astounding, and his performance never faltered throughout. Even in moments when he wasn’t necessarily the focus of a scene, he remained completely engaged in the action. There was some superb acting here, alongside a vocal performance that really suited the character and musical style.

The chemistry between Roger and Mae Pettigrew, as Mimi, was incredibly believable. Mae gave us a real sense of Mimi’s vulnerability and character, although on occasions her vocals lacked some clarity of diction. This may, however, have been partly due to some issues with the sound quality and mixing on the night. Quite often, vocals across the production felt somewhat muted against the live band, which was under the very capable baton of Phil Toms.

Overall, this was a superbly directed production by Deborah Anderson, which successfully captured the spirit of Rent and, importantly, gave a strong and affecting portrayal of the AIDS crisis and the lives of those caught in its devastating impact.

There is always something particularly brave about taking on a musical as emotionally raw and challenging as Rent, and Springers should be congratulated for having the courage to stage it. This was an ambitious production with some excellent performances, moments of genuine emotion and a clear understanding of the heart of Larson’s work.

Huge congratulations to Springers for bringing this powerful and important musical to the stage.