Now more than ever, it is important for us to support the arts. Fighting a global pandemic over the last couple of years has largely meant fighting solitude and boredom; and to do that we all turned to the arts in one form or the other.
Who would’ve been able to manage without Netflix, or Prime Video, or any of the other countless streaming services we are now able to pick from? Who could’ve suffered months on end stuck at home without their favourite authors to keep them company? How many of us missed sitting in a theatre as the lights dim and the whispers hush, feeling that tingle down your spine in the anticipation of witnessing a live performance, and instead had to rely on watching National Theatre at Home and similar options? Didn’t we all count down the days until our favourite theatre, cinema, art gallery, music venue, etc. opened again?
And yet the arts industry has arguably been hit the hardest during the pandemic, with little to no support from our government. Now we are able to venture out again, it is up to us to show our appreciation for this industry by supporting it as best we can.
Therefore I took a trip to my new favourite community theatre this week – having been twice before, to watch their ‘haunting musicals concert’ Phantom Memories, and for Sundial Theatre’s inaugural production, Borderline. It is the smaller, local theatres like NWTAC Theatre that deserve and need our support the most, as the management put on small budget plays and musicals for the sheer love of creating and sharing art, and the young actors on stage are given a chance to do what they love and develop their performing skills. And nowhere is that more evident than when watching the North West Theatre Arts Company.
NWTAC Theatre is a cosy little building in Moston. Each time I’ve visited, I’ve been struck by how welcoming the Front of House staff are, and how friendly the crew and cast are. You’ll usually find them mixing with the audience members – who are predominantly locals and/or friends and family – before and after performances. It gives the place a real sense of community, of being one large family. Each visit, I am reminded of the underlying purpose of art – to bring people together, and to show us that we’re not alone.
James Llewellyn Burke & Anthony Horricks in Rent @ NWTAC Theatre
Rent
On this, my most recent (but definitely not last) visit to NWTAC Theatre, the in-house company performed the late Jonathan Larson’s famous rock musical, Rent.
Now, I went into this with as little knowledge as is likely possible for such a well-known and regularly performed musical. I knew that it’s set in New York during the HIV/AIDS crisis. I’d also read MancMuse’s review of Hope Mill Theatre’s recent production, which describes it as being “about a young group of performers, struggling to find their feet in the dark and gritty side of New York.” I literally had no other information going in.
Coming out of the show, my first thought was ‘Rent is to Angels in America what West Side Story is to Romeo & Juliet’ – which may be as unfair to say as it is true to hear. With the plays, I am left with a sense of the profound, whereas the musicals leave me with a song stuck in my head and the sense I’ve seen a good show.
I guess that’s the difference between good art and great art. If you’ve read my rambling thoughts regarding van Gogh Alive – which is currently at MediaCityUK in Salford, for a limited time only – you’ll know that I believe great art, regardless of the medium, is that which gives us a greater understanding of ourselves and the world while also producing intense feeling – whether that be overwhelming joy, gut-wrenching devastation, burning anger or anything else. When I watched Rent, I didn’t get those things. I wasn’t changed by the experience. (Although I did find a new favourite song in ‘La Vie Bohème’.)
I suppose that’s the curse and the blessing of musicals: a heavy focus on music, lyrics and choreography makes for a uniquely stylised and engaging experience, but as a result the plot often lacks depth and there isn’t as much development when it comes to the arcs and relationships of the characters. That’s not a blanket statement for all musicals (for example, my favourite musical, Wicked, contains much depth and development – although it does rely on us having some familiarity with the land of Oz and its inhabitants), and it doesn’t mean I believe musical theatre to be a lesser form of art than any other. It’s just different. And not my personal preference, all things considered. But each to their own.
NWTAC
Anyway, those thoughts were regarding Rent in general. Let’s now focus our attention on NWTAC’s production.
Walking into the building, I was greeted by one of the performers – Jonny Molyneux – playing the guitar. He directed me to the foyer, where cast members Lois Ormerod and Hannah Hopwood – later joined by Maria Collins – were dancing on a small platform with a gold streamer backdrop. I always appreciate extra performance elements, and although these weren’t as fully immersive as perhaps they could’ve been, they did succeed in setting the stage and building my anticipation for the show.
When the production started, I was struck by the uniqueness of the performance area. I’ve seen proscenium stages, theatre-in-the-round and black boxes in my time, but never have I seen a stage quite like the one at NWTAC Theatre. It’s as narrow as your average amateur theatre space, but what it lacks in width it makes up for in depth. This gives a diversity to the space that you don’t often come across.
Downstage was left bare, except for when specific story elements were needed, such as a long table or a platform. Upstage left held a literal box room – the apartment that drives much of the plot – with stairs leading to it at upstage right.
If anything, being able to see the apartment looming in the background of the events was more than just a staging convenience, but an astute symbolisation of the narrative. That room is the main thing that all of the characters have in common; it brought most if not all of them together – and fighting over whether they have the right to stay there or not, as well as keeping the neighbourhood from being gentrified in general, is largely what keeps them together.
The direction and choreography were well done – nothing groundbreaking, but more than simply competent. It was clear the crew were familiar with the piece and knew exactly what was required. Having watched the film after seeing this, I noticed many elements were replicated quite closely – from certain props to specific characters’ costumes. But hey, if it ain’t broke, don’t fix it.
The actors performed expertly, bringing the characters to life in a believable way despite the various age inconsistencies. The characters range from nineteen (Mimi states her age in ‘Light My Candle’) to possibly mid-thirties (I can’t imagine Collins being any younger, considering he’s a philosophy professor; and Joanne is an established lawyer, which must’ve taken a few years as well). On the other hand, the cast consisted of mostly teenagers (bar two or three) – the youngest being just fifteen years old. Yet age didn’t seem to be a constriction in the production; it felt real, honest, convincing.
As with my Phantom Memories review, I’m going to list the entire cast later, because they all deserve praise and recognition. There wasn’t as much as a mediocre performance between them. But this time I feel like there are a few standouts worth mentioning.
First of all, my favourite actor (and character) of the show was James Llewellyn Burke – known affectionately by his friends and colleagues as JB. His voice was pitch-perfect throughout, as was his delivery of the dialogue. With the most (and best) lines and lyrics, the entire piece was essentially resting on his shoulders, and he carried it well.
I also really enjoyed Owen Garcia’s portrayal of Angel, which gave me serious Belize vibes from Angels in America – particularly Nathan Stewart-Jarrett’s performance at the National Theatre. His charisma and his sassiness made me love him and the character. Halle Kerley was also great as Maureen, especially during her solo ‘Over the Moon’. Now there’s a character (and actor) I would’ve liked to see more of.
Last but definitely not least, I must mention Prab Singh. As NWTAC’s managing director, as well as the resident director of their productions, Prab is no doubt the heart and soul of the North West Theatre Arts Company. It’s clear when you speak to him or see him and his colleagues mingling with the audience. For that alone he deserves praise.
For the performance I watched, Prab was also part of the cast. I spoke to him after the show, and he told me that he was required to take on the role of Tom Collins only a week (three rehearsals) before opening night. Fortunately, it was a character he has played previously, and one he told me he thoroughly enjoys performing. To Prab, the true throughline of Rent is the love story between Collins and Angel. It’s also the only part of the plot that isn’t tied in a pretty bow at the end (though Larson tried his best with that ATM nonsense and having Angel reappear onstage), making it – in my opinion – the most real and unrelenting aspect of the overly simple and sentimental conclusion.
Prab’s previous experience playing Collins was clear; he portrayed the character with the perfect mix of youthful exuberance, mature intellectualism and hopeless romanticism that you’d expect from an anarchist ‘computer-age philosophy’ professor that falls in love with a drag queen in her (I’m guessing) early twenties. Speaking of, the chemistry between Prab’s Tom Collins and Owen Garcia’s Angel also felt natural, which just proves how well they both settled into their characters.
After watching the production, I couldn’t imagine anyone but Prab playing the role. And honestly, after watching the film adaptation to compare, I still saw Prab when I should’ve been seeing Jesse L. Martin. Hats – or, should I say, beanies – off to a memorable performance.
Rent @ NWTAC Theatre
Conclusion
Overall, this is a production I’m thoroughly glad I was able to see. I’ll be honest, after a long day at work I was more in the mood for lounging around on my sofa watching Netflix than travelling to Moston for a theatre performance. But by the performers’ bows, I was glad I didn’t stay home.
I forgot how the atmosphere of a theatre – especially one with the community feel that NWTAC Theatre has – can really lift your spirits. And the performance was just what I needed when I needed it: fun, engaging, meaningful yet not too heavy. So regardless of my usual preference for the profound, during this performance I was more than happy to simply sit back and enjoy the show.
Jonathan Larson managed to find a way of making the struggles of living in New York (or anywhere) in the late-‘80s-early-‘90s with HIV/AIDS feel relatable, with enough juxtaposition between the tragic plot points and the catchy, mostly upbeat songs to make it seem full of anguish and at times insurmountable, yet also powerful and, in some ways, freeing.
In turn, the cast and crew of NWTAC managed to wake me up and send me home with a smile on my face, a song in my head, and subtle solemnity in my heart. To quote the titular song: “The music ignites the night with passionate fire.”
Next up at NWTAC Theatre is A Night at the Cavern Club – featuring Beth Singh as Cilla Black – on the 18th & 19th of this month, with their Easter panto, Cinderella, coming in March. I highly recommend you visit soon!
NWTAC Theatre’s Rent cast list:
Anthony Horricks as Roger Davis
James Llewellyn Burke as Mark Cohen
Prab Singh (replacing Gareth Maudsley) as Tom Collins
Solomon Asante-Owusu as Benjamin Coffin III
Annabelle Cook as Joanne Jefferson
Owen Garcia as Angel Dumott Schunard
Maria Collins as Mimi Marquez
Halle Kerley as Maureen Johnson
Milly Potts
Hannah Hopwood
Paige Garth
Jonny Molyneux
Lois Ormerod
Ashleigh Rogers
Lisa Saruzi
Alfie Cook
Lois Dibden
Harry Gardner
If you want to check out more of our StageMuse articles, might I suggest my review on one of my favourite theatre pieces of all time: The Greatest Play in the History of the World. Or if you’re looking to support another form of art post-pandemic, check out some of our MusicMuse articles, such as Jordan Noble’s review of Daniel Tompkins headlining The Deaf Institute.
And if you kind of – maybe – slightly – enjoy my writing, I’d greatly appreciate it if you sent me a tip over on Ko-fi.
