Review: RENT, Starring Gaten Matarazzo, The Tom Stoppard Theatre

It's been a long wait since London last saw Jonathan Larson's semi-autobiographical rock masterpiece that won four Tony Awards and a posthumous Pulitzer. It's unlikely that any of the cast of the 30th anniversary revival of Rent was out of nappies when the show debuted off-Broadway, but the themes of young people struggling with the cost of living, navigating jobs and relationships, as well as living in the aftermath of the pandemic (albeit this one is AIDS), are evergreen.

Based on Puccini's opera La bohème, we follow a close-knit group of squatters and artists in 1990s New York enclave Alphabet City, who are each facing poverty, personal tragedies and possible eviction, all under the shadow of the AIDS crisis. The production reshaped how LGBTQ+ and racially diverse people could be portrayed on stage and even though this may no longer have the shock factor it once did, it remains a seminal piece of theatre. 

Making his West End debut as Mark, Stranger Things star Gaten Matarazzo is top billing and surely is who is driving some eye-watering ticket prices. Unlike other actors who have only done TV, this is no stunt casting; he has a long history of theatrical work and looks totally at ease on stage in what is a very naturalistic performance. Matarazzo makes a lovable, incredibly charming character and his voice is solid, perhaps standing out less because of the strength of his co-stars' vocals.

Matazarro's particular highlight is in "Tango: Maureen", performed with real fun and flair with Danielle Fiamanya's excellently strait-laced Joanne. Travis Ross doesn't have the biggest theatrical CV, but this show will surely project his career skywards. He makes a huge impression as musician Roger, with some thrilling vocals and conveying a sense of real fear in dying before completing his work, with deep trauma from the tragic loss of his previous girlfriend.

Fresh from his stand-out appearance as Simon in Jesus Christ Superstar, Billy Nevers is the one actor who really gets deep under the skin of his role as Collins. His voice seems to get better with every production he does and his deeply felt version of  "I'll Cover You" reprise is nothing less than spine-tingling.

In a stark change from his award-winning debut as Rusty in Starlight Express, Jeevan Braich throws everything at the role of Angel. It's a heartfelt, sincere performance and there are some tender moments played with Nevers, but the chemistry between the pair lacks a little crackle.

Alexa Lopez is an outwardly confident Mimi who masks deep insecurities. She makes the most of her famous solo “Out Tonight”, but lacks the raspy quality that works so well in this track. Lazy Violet makes their confident West End debut as Maureen, again, with some excellent vocals and Joaquin Pedro Valdes is in fine voice as landlord Benny, showing a less avaricious side than usually played. They are supported by a strong ensemble cast, each of whom gets a moment to shine. Act 2 opener “Seasons of Love” is a suitably poignant and uplifting moment, with gorgeous harmonies from the whole cast.

Director Luke Sheppard's first foray into the musical was at the Hope Mill Theatre, but only managed five performances before it was cut short by Covid. Sheppard clearly has deep love for the show and leans into its chaotic energy and moments of deep pathos; these are imperfect people living in an imperfect world.

The decision to bring some of the audience on stage works best for those who want to be right in the thick of it, especially as the cast spend much of the time sitting on chairs around the central stage animatedly waiting their turns to be part of the 'central stage' action. Sheppard also makes full use of the revolve, allowing for minimal disruption to sightlines, but The Tom Stoppard stage is not the biggest and there are points where the action feels overly crowded. 

There is a hard, industrial feel to David Woodhead's set and the vintage TV sets around the stage projecting some of Mark's grainy footage are a nice touch, but they are so small it's hard to make out much of the content.

Tom Jackson Greaves's choreography is often frantic, but always engaging, enhanced particularly by the (occasionally too loud) brilliant on-stage band. Gabriella Slade's costumes lean into a muted, muddy palette that feels suitably grungy, with the exception of Mark who sports a more cosy, geeky look. It's a brave move to put Maureen in just nude underwear for her artistic performance, but it matches well with the avant-garde content. Although how practical it would have been exposed to a New York winter is anyone's guess.

It is high time that we saw a revival of Larson's creation. His lyrics hit as hard as ever, even though the duration (two hours, 45 minutes) may be a little too long for some. This version of Rent deserves the hype it has been receiving and is a fitting tribute to the monumental legacy of a musician and creative genius that we lost far too young.

Rent is currently booking at The Tom Stoppard Theatre until 29 May 2027

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