Set in New York’s East Village, Rent follows a group of young artists and friends as they deal with love, friendship, poverty and illness. The characters struggle to balance their creative ambitions and relationships with the realities of their financial pressures, housing insecurity and the impact of HIV/AIDS on their community. As time passes and their circumstances change, tensions grow between their personal choices, responsibilities, relationships and ideas about how they want to live.
The themes at the heart of Rent are particularly significant when you consider the story behind the show itself. Jonathan Larson drew on the realities of the world around him when writing the musical, exploring HIV/AIDS, poverty, addiction, relationships and loss at a time when many of these issues were all too immediate. Tragically, Larson died suddenly on the eve of Rent’s first performance, at just 35. Thirty years on, the themes of love, loss and how we choose to live remain central, and that gives this production by community group Edge of Town an added resonance. They are using the run to raise both money and awareness for bereavement charities, creating a meaningful connection between the subject matter of the show, Larson’s own story and the purpose behind this production.
The performance space at 53two feels almost tailor-made for this production. Its industrial character provides an ideal backdrop for the bohemian world of Rent, giving the setting an authenticity that wouldn’t be possible in a proscenium arch theatre. The exposed, rough-around-the-edges feel works brilliantly as the backdrop for this artistic commune fighting off its inevitable gentrification.
The staging, under Director James Cave and Production Secretary Emily Bailey, is equally effective, making clever use of the space rather than trying to disguise it. Scaffolding creates different levels and extends the playing area upwards, giving the production plenty of visual depth while maintaining that industrial aesthetic. Flight cases are used as multifunctional furniture, shifting effortlessly between practical set pieces and part of the environment, while adding to the deliberately makeshift, boho-chic feel of the production. The choreography by Libby Blindell is subtle and inobtrusive where it needs to be and comes to life in La Vie Boheme as required, complementing the action and adding to the naturalistic feel of the piece. Costumes, hair and make-up by Peter Rowland complete the feel, helping to create a convincing world for the characters and adding plenty of detail without feeling overly stylised.
Regretfully, the storytelling conveyed less clarity than the overall look of the production. Rent is a very character driven piece with multiple histories and relationships to establish over the course 12 months. Whilst not completely sung through, Rent is a very music heavy show which adds to complexity in hitting the plot points. For someone not as familiar with the content I think it would have been a struggle to stay of top of the narrative thread. This challenge was further compounded by sound issues which were the result of some last-minute technical gremlins.
That said, the characterisation was incredibly strong, with the cast creating believable relationships and a real sense of connection between the central group. The pure, uncomplicated love between Collins (Jake Liken) and Angel (Liam Darbyshire / Kiki Inferno) was the real heart of the piece and a particular highlight, while Maureen (Darcie Dulligan) and Joanne (Lauren Ormesher) brought plenty of spark to their feisty, on-again, off-again relationship exemplified in their electric performance of Take Me or Leave Me.
It is in the pure quality of the vocal performances that this show really shone. There is some seriously impressive singing throughout, with a cast that handles Rent’s demanding score with confidence and considerable ability. Angel and Collins make a wonderful soulful pairing, bringing warmth and tenderness to their numbers. Maureen has real power and clarity, while Roger (Ben Rigby) gets to unleash some glorious stadium-rock riffs. Mimi (Becky Brown) brings an emotional honesty and a not inconsiderable belt to her impressive performance, while Mark (Chris Burr) cuts a suitably geeky figure bringing out touches of both comedy and tragedy. Collectively, the vocal performances are what give the production its energy and help to bring the characters and their relationships to life.
One particularly effective choice comes towards the end of the interval, with Seasons of Love, performed at a piano situated front of house as a bridge into the second act. It’s a simple but thoughtful piece of staging, and one that underlines the strength of the ensemble by bringing the cast together as a community whilst affording the opportunity to feature different solo voices.
Rent is an ambitious show to take on, and Edge of Town have approached its challenging subject matter with care and a clear commitment to the material. That they have brought the production together in just two months, while making their debut as a group, makes the achievement all the more impressive.
There is plenty to enjoy here, particularly in the strength of the ensemble and the quality of the vocal performances. A little more emphasis on the storytelling alongside the performances and the visuals would have just helped to weave the whole production together even more.
Ultimately, this is an extremely promising debut from Edge of Town, and I wish the company every success for the rest of the run.
Rent runs until Saturday 10th October at 53two (7.30pm nightly). Tickets are available via https://53two.online
Reviewer: Dan Grimes
Reviewed: 7th October 2026
North West End UK Rating: