Review: RENT (Tom Stoppard Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

2026 marks thirty years since a new musical debuted off-Broadway and quickly cemented itself as an instant classic, with Rent swiftly transferring to Broadway where it remained until 2008. That also makes 2026 the thirtieth anniversary of writer Jonathan Larson's tragic death the night before its Broadway debut. It's been a long time coming for West End audiences to get a chance to enjoy the show but they have to wait no longer as there really is no day but today… and the many other days the show is running in a production that has already announced an extension. With such a beloved musical and one that has long been a favourite of mine, the question is how do you measure a show? In actors? Creatives? The music or rounds of applause? How about how much I loved it, and spoiler alert, that’s a hell of a lot of love to measure!

The origins of this latest iteration of RENT has a history of its own. Planned to open at Manchester's glorious Hope Mill Theatre in 2020, Covid delayed and ultimately closed the production early. A professionally filmed version streamed online when that was the only lifeline we all had for theatre (and how this website got started), returning the following year to play out a full uninterrupted run in all its glory. The production was acclaimed and whispers of a West End transfer soon emerged though never materialised. However, 2,628,000 minutes later (or five years if you prefer), it has arrived, settling into the newly renamed Tom Stoppard Theatre.

Inspired by the 1896 opera La bohème, RENT tells the story of a group of young artists living in New York City in the 1990s as they deal with their daily fight to stay alive. Unable to make money in their pursuit to be artists, they have to navigate love, loss and complicated relationships with ex-lovers and friends all under the shadow of AIDS that threatens to tear apart the family they have built for themselves. Jonathan Larson’s writing remains every bit as exquisite now in a show that somehow serves as a time capsule for the 1990s while offering unexpected comparisons to the present day, demonstrating the timeless nature of his genius. 

Director Luke Sheppard takes this idea and explores the duality of the past and the present in his production, heightening the rebellious and protesting nature of the story. While still serving as a snapshot for 30 years ago, RENT features a loud, proud and fierce LGBTQIA+ story that feels wholly necessary to tell in this day and age as others attempt to reverse hard-fought rights. This makes this timely production all the more powerful, with Sheppard ensuring the urgency of this through frantic, unconventional and even uncomfortable choices that prove astonishing to witness. This energy is matched with Tom Jackson Greaves’ outstanding choreography, with energy being the operative word. The bigger numbers in the show come alive through these choices, with the title number ‘Rent’ leaving my jaw on the floor through how intricate and miraculous the movement was, eclipsed only by a truly spectacular ‘La Vie Boheme’. At the heart of the story is the fear that time is running out - a theme that takes on extra poignancy and an unexpected parallel after Jonathan Larson’s untimely and unexpected death. The overarching message that there is “No day but today” seems to take on more meaning now than it ever did before, and certainly had me leaving the theatre feeling inspired.

Originally staged at the relatively tiny Hope Mill theatre, I was intrigued how this would translate to a much bigger space such as the Tom Stoppard Theatre - this is a production that requires intimacy and connection, and the way this has been managed is nothing short of extraordinary. Foregoing the much larger space of a West End stage, this production instead retains a small portion of that space, filling the rest with the audience surrounding the cast with on-stage seating. This removal of the perceived barriers between cast and audience is crucial in getting the message of RENT across, resulting in the most intimate and unashamedly exposed production I dare say there has ever been. Sat halfway back in the stalls, I still felt an unrivalled connection to the characters and the story, with great thought given to how to bring the entire theatre together to feel what they ought to - be it joy, sorrow, anger, community, rebellion or love.

David Woodhead’s set design has been put to great use to replicate elements from the original Hope Mill production while offering new elements that can put the bigger space to use. Some impressive set reveals never outstay their welcome or dominate the space, only complementing the brutal and minimalist nature that mostly resembles Mark’s apartment. Another inspired choice is the use of video design and cinematography from George Reeve and Nathan Amzi, brilliantly using the live filming Mark does that makes up such a crucial part of the story and displaying it on small and large screens around the stage. Some may be tired of live filming in theatre, but when it works, it can really elevate a production and that is the case in RENT.

This is a production where all design elements come together beautifully to create an impressive production that each has its distinct style yet comes together to form a cohesive unit. Howard Hudson’s lighting is used to thrilling effect, particularly on ‘Contact’, a sequence like no other in the show and displayed as such. Gabriella Slade’s costume design perfectly plays up to the bohemian lifestyle while making clear these are not characters with much (or any) money. While Angel’s looks are always a talking point in the show, a clever touch here has been not to overly glamourise them to continue the aesthetic that Angel has made these out of everyday items, still looking high-fashion but believable at the same time. It is that attention to detail that has made this production RENT as phenomenal as it is.

It is fair to say the creative team in this production have all delivered something exceptional, and that impossibly high standard is matched by the cast. With eight main characters, you would expect the quality to prove inconsistent or dip slightly between them. Not a chance! What I witnessed here truly has to be one of the strongest and most impressive casts that have been on a West End stage in quite some time, extending to the amazing ensemble in a show where the undeniable talent on stage is as magnificent as it gets.

Stranger Things star Gaten Matarazzo makes his West End debut as Mark, the character who ties it all together and proves more central to the action than most. Matarazzo is an absolute revelation in the role, wowing with his incredible vocals and his faultless characterisation, leading to a loveable and captivating performance. His standout moment comes in a fabulous rendition of ‘Tango: Maureen’ with Danielle Fiamanya’s Joanne, with the dynamic between the two among the most exciting and electric on stage.

Fiamanya’s performance bordered on scene-stealing throughout, only reigning in enough out of respect to this cohesive ensemble cast. The object of both Mark and Joanne’s affections is the aforementioned Maureen, with Lazy Violet demonstrating out-of-this-world vocals on a showstopping ‘Take Me or Leave Me’ and tapping into the right side of eccentric for a particularly captivating ‘Over The Moon’. If you wanted to hear an audience moo in unison in a West End theatre, this is the show to go to - with apologies to Into The Woods down the road, whose cow remains disappointingly mute (or should that be moote).

Joaquin Pedro Valdes delivers a strong performance as Benny. Though he is essentially the villain of the piece, Valdes taps into the complexities of the character, showcasing elements of his humanity where perhaps it has never been as prominent before, making his character feel well-rounded. Alexa Lopez is magnificent as Mimi, offering stunning vocals, stage presence and a sense of vulnerability and potential tragedy making her characterisation all the more compelling. A late addition to the production, it feels as if this is a role she was born to play, with her ‘Out Tonight’ an undoubted standout of the night. It is her relationship with Roger that lights up the stage, with Travis Ross an exceptional highlight in the role. I got the sense I was in for a knockout Roger with Ross’ phenomenal rendition of ‘One Song Glory’ and I certainly wasn’t disappointed. The anguish Ross exhibits in his performance showcases a truly gifted actor, with the resulting performance nothing short of extraordinary.

If I had to pick two standouts in this consistently strong cast, however, it would be Billy Nevers and Jeevan Braich as Collins and Angel. Their characters’ relationship is the sweetest of the show, and as such is the easiest to buy into… or rent into, more like. The chemistry the pair have together brings a sense of authenticity, in what has the potential to be the best pairing of Collins and Angel there has ever been. The smooth vocals both actors have results in a back-and-forth of riffs and inspired interpretations of their musical numbers, with Braich showcasing what a phenomenal triple threat he is in numbers such as ‘Today 4 U’. However, it is Nevers who has THE standout moment in the show, with his breathtakingly beautiful and spine-tingling rendition of ‘I’ll Cover You (Reprise)’. Initially more restrained than I have heard before, Nevers’ vocals as the song roars to its climax may rank among the best I have ever heard in any musical performance. Earning him a well-deserved standing ovation as I wiped the tears away from my eyes, this is a performer unafraid to put it all out there, resulting in absolute theatre magic.

Many of the songs from RENT have proved so popular in the 30 years since its premiere, they are known outside of the musical and even outside musical theatre in general. That is certainly the case for ‘Seasons of Love’, the most iconic number in the show, and one that is performed in gorgeous fashion to open the second act. Almost resembling a prayer circle, the sequence felt special to watch, breathing new life into a classic. It isn’t alone, however, with ‘La Vie Boheme’ always proving to be a show-stopper, and ‘Take Me or Leave Me’ never failing to be a highlight, particularly when you have two performers as strikingly sensational as Fiamanya and Violet. It is how this production handles the quieter, perhaps lesser-known numbers that truly cements its strengths, with particularly emotional numbers ‘Will I?’ and ‘Without You’ highlights. Katy Richardson leads an incredible band to bring these numbers to life, with strong sound design from Paul Gatehouse ensuring every word is heard and nothing is ever lost.

Not all shows are created equal, and this production of RENT holds the gold standard for what theatre should be. Striking the right balance of staying true to the heart of the show while bringing something new into the mix, the result is a faultless production that really is as perfect as theatre can be. RENT is a show I have loved for many years and I have been lucky enough to see multiple productions of it in my time, as well as the screen versions. I can say with full confidence that this is the best version of RENT I’ve ever seen, proving what can be achieved when you put the right show in the right theatre at the right time and ensuring the last unspeakable West End outing all those years ago is nothing more than a bad memory.

It has been a while since I have come out of the theatre feeling as awe-inspired and overwhelmed as I did here - the buzz there was truly electric, leading to a night at the theatre I will never forget. I was convinced my musical of the year would be unbeatable, but RENT has proven itself to be a strong contender in what is easily one of the best shows of the year. I would quite honestly give it more than five stars if I could; in fact it deserves 525,600 of them. How do you measure a show? Put it against this perfect production of RENT and see how it compares.

RENT plays at the Tom Stoppard Theatre until 29th May 2027. Tickets from https://allthatdazzles.londontheatredirect.com/musical/rent-tickets

Photos by Pamela Raith