Rent Review, May 2023 - Retiring in Style

“We can all learn how to survive from those who stare death squarely in the face every day, and we should reach out to each other and bond as a community, rather than hide from the terrors of life.”

So wrote Jonathan Larson, author and playwright of Rent, the latest production from the super-talented cast and crew of Basingstoke Amateur Theatrical Society (BATS). Director and Choreographer, Louise Travis, with Musical Director Jonathan Eiø, pulled out all the stops to draw out the very best from the players.

Rent is a challenging production on many counts. It is a challenge for the actors and a challenge for the audience. It is also a serious vocal challenge and one that requires all involved to reach into the depths of their very selves to create meaningful, recognisable characters that everyone can relate to in one way or another. For some watching it may be uncomfortable at times – but what is good drama if not, occasionally, to take us out of our comfort zone? Above all, it is a story of friendship and fear, love and loss, death and the legacy we leave behind us when we die.

Set in New York, in the 90s, Rent doesn’t flinch from introducing us to the lives of those “staring death squarely in the face.” Best friends Mark and Roger rent an apartment which they can’t afford to pay for and are being chased for payment by a former flat-mate, Benjamin Coffin III (Benedict Kennedy) who has sold out to respectability – though this, it turns out, is the least of their worries and those of their friends. Mark, played by Jack Baldwin, is the narrator of their story, filming every event on camera in a despairing attempt to capture what life is like for those facing issues of homelessness, drug addiction, gender identity and, above all, the scourge of AIDS. Not the easiest part but Jack played it brilliantly, his sure and powerful voice conquering those difficult vocals with seeming ease while providing the vital link holding the various strands of the story together. Sometimes standing by to watch the lives of your friends fall apart is as bad as experiencing it yourself.

First time BATS performer, David Honeywell, playing Roger, provided a good contrast to Jack. Roger has a tragic back story, HIV positive himself and having lost his one-time love to suicide after she discovered she was HIV-positive too. He is frightened to love again, initially resisting, painfully, the attractions of Mimi, Luannsa Goodman turning in a feisty performance. David’s acting was impressive, every quiver on his mobile face evidence of his fear and his longing. His desire to leave behind one last song (One Song Glory) which would stand the test of time was a recurring theme, just as film-maker Mark’s was to compile a realistic record of troubled times.

Essentially, Rent focuses on three couples and their very different approaches to love. Most poignant of the three was that of Tom Collins (James Young) and the enchanting Angel (Tom Boncey). Angel, a drag queen extraordinaire, strives to bring joy to enrich the lives of everyone she meets, especially Collins, through unfailing kindness and generosity. The two together, James and Tom, take everyone with them as they fall head over heels in love. Their duet, I’ll Cover You, is one of the most beautiful in the show. When Angel dies, Collins at the bedside, the light goes out and the community of friends start to fall apart. It’s only at the end of the show that Angel’s own legacy – the understanding that all you need is love – becomes clear.

Laura Burrell played Joanne, the girl who falls in love with someone completely different from herself, the outrageous and ever-flirtatious Maureen (Jade Williams) a former girlfriend of Mark. One of the stand-out songs, early on in the show is Tango Maureen, danced with considerable aplomb by Mark and Joanne, reflecting on the way Maureen effortlessly has them both dancing to her unique tune. Unique is the only word to describe Jade’s performance, as Maureen, of Over The Moon which was completely bonkers and totally captivated an appreciative audience.

Act One, despite the underlying tragedy transmitted so effectively through the AIDS/ HIV support group rendering of the powerful anthem Will I Lose My Dignity?, included several upbeat songs to stay in the memory. Among these were Angel’s joyous Today 4 you - a toe-tapping musical ‘present’ brightening up Christmas Day for Mark, Roger and Collins; and Mimi’s intoxicating Out Tonight as she tries to persuade Roger out of his melancholy and into her arms. The Act finishes on a riotous note. Mark leads the company in La Vie Boheme, a raucous hymn of praise for the Bohemian lifestyle they have all embraced, excellently performed by one and all.

This production of Rent offered many such opportunities for the whole cast to demonstrate their boundless enthusiasm and energy, the hallmarks of many a BATS performance.

Right from the start of Act Two, there was a sense of impending doom, of dark days ahead. The first Act had been concentrated on Christmas Eve/Day - while the beautifully sung Seasons of Love at the start of the second Act talked of the 525,600 minutes in a year, measuring the year to come in seasons. It was good to see members of the Ensemble taking solo lines, giving them a chance to shine.

Angel’s death, from AIDS, came as a shock with Collins’ tender administrations to his ailing lover almost unbearably poignant. This was great acting by James Young which had many of the audience in tears. His reprise of I’ll Cover You at Angel’s funeral was incredibly moving. So, too, was Mark’s breakdown at Hallowe’en, laden down with anticipatory grief and survivor guilt. Truly memorable scenes.

In the end it was Angel whose example, even in death, brought the community together after their painful split. Mark and Roger were reconciled, as were Maureen and Joanne, Mimi and Roger - Mimi’s near-death prompting Roger’s realisation that “you were the song all along.”

We can’t know what will happen to each of them next, but the Company’s Finale was full of the hope that they could make each day that followed count if they only clung together through everything thrown at them.

BATS has a reputation for shows which are out-and-out people pleasers - but for a Society which wants to grow in strength and to stretch the talents of its excellent members, including many promising up and coming newbies, Rent proved the ideal vehicle. More importantly still, it was abundantly clear that this production meant a great deal to every one of the cast and crew - they totally believed in its messages. And because of that, they helped their audiences to understand and appreciate those messages too.

Jaqui Ball
Retiring in Style

Rent Review, May 2023 - Basingstoke Gazette

Basingstoke Amateur Theatrical Society (BATS) took many risks deciding to perform Rent - but it was a risk worth taking and every decision has paid off.

Over the last few years, Basingstoke has been guaranteed a fun night out at the theatre with BATS who have recently performed hits like Elf - The Musical, Sister Act, Shrek, and Oliver!.

But, this time around they went in a completely different direction with Rent - Jonathan Larson's multi-award-winning musical, that follows a year in the life of a group of struggling young artists in New York’s East Village in the mid-1990s.

Tackling topics like drug abuse, sexuality, homelessness, mental health, and the impact of HIV/AIDS, Rent is a tough musical to master - but BATS have done it justice.

If performing such a tough musical wasn't hard enough, a number of the main cast members are braving leading roles for the first time.

Luannsa Goodman gave a moving performance as Mimi Marquez, and even tackled a costume malfunction like a pro.

Likewise, Tom Boncey as Angel Dumott Schunard took the difficult role in his stride and was a convincing partner to James Young, who played Angel's lover Tom Collins. In the second act, they both mastered some of the more emotional scenes as Angel succumbs to HIV/AIDS. 

Jack Baldwin confidently leads the musical as Mark Cohen, a struggling musical director who narrates the whole performance.

In the opening show on Tuesday, May 16, Jade Williams earned the biggest roar from the crowd as Maureen Johnson. This was no doubt thanks to the effortless comedy interjected into Over The Moon which took a risky twist on the classic performance but absolutely paid off and had the whole audience laughing.

Rent may not have been as vocally confident as other BATS performances in the past, but the passion, dedication and determination to give these characters some truth was evident in the brilliant acting from all leads.

BATS is evidently determined to tell an emotional story that still resonates today, and the group is determined that their performance impacts outside the theatre.

Teenagers from local schools and colleges were invited to attend a community performance for free and encouraged to interact with local charities and support networks before the show. 

Megan Stanley
Basingstoke Gazette

Rent Review, May 2023 - One Show at a Time

This week the curtain came up as Basingstoke Amateur Theatrical Society (BATS) brought Rent to Basingstoke’s Haymarket stage. Under the direction of Louise Travis, with musical direction from Jonathan Eiø, BATS’ production of Rent hit all the right notes and brought everyone to their feet.

I was left eager to see the finished show after watching their wonderful rehearsal, and I was not disappointed. It is everything I’d hoped for, and more.

The main focus of Rent is primarily on the music, story and characters, but the set and costumes all aid to bring everything together just that bit more; Maureen’s cow boots are something I was genuinely tempted to jump on stage and grab right off her feet! Moreover, a part that really made me smile was during La Vie Boheme, where the waiter (Craig Saunders) was wearing a Moondance Diner t-shirt. This is the shirt worn by Andrew Garfield in the recent movie Tick Tick Boom, in which he played Jonathan Larson, the very man who wrote Rent but died before seeing the first performance. This is such a small detail but a great Easter egg for the theatre fans (aka, well, me).

It is these extra details that really elevate the show and make it a feast for the eyes and ears. Rent showcases an explosion of sound, colour and energy so strong you can feel it in the air. The band being on stage was a brilliant addition, giving them the chance to shine in their own right and the recognition they deserve by being onstage during the performance. La Vie Boheme alone had me bouncing in my seat!

The leading cast were made up of Jack Baldwin and David Honeywell stepping into the shoes of Mark and Roger respectively; James Young and Tom Boncey taking on the roles of Tom Collins and Angel, with Luannsa Goodman, Jade Williams and Laura Burrell completing the group as Mimi, Maureen and Joanne. These characters are not easy ones to take on, but take them on everyone did, making each role their own. It’s all well and good standing there singing Rent, but it’s nothing if you don’t bring the complex characters to life, and everyone in this cast did just that every second they were all on stage, not faltering for a moment. 

Baldwin oversees the whole show as a narrator of sorts, and although Mark is a bystander to a lot of the events, Baldwin is able to display the emotional turmoil Mark goes through as the show unfolds. When acting, I think what is not said but shown through acting choices is just as important as the text, and Baldwin’s acting choices through facial expressions, body language and affection toward other characters on stage spoke volumes in a way that was subtle yet very effective.

Honeywell gave a stellar portrayal of the complexity of Roger’s character, with his ongoing anguish and battle with grief, fear and the critical diagnosis looming over his head. Their poignant rendition of ‘One Song Glory’ was haunting and enthralling. 

Boncey as Angel lived up to their characters’ namesake, shining every time they walked on stage. Their performance of ‘Today 4 U’ was so joyous and I couldn’t help but smile at their passion, which made their journey throughout the show that much more hard-hitting; Boncey found the perfect balance between the lovable Angel that’s known and loved so much in Rent who has a combination of both humour and vulnerability to their character.

Young’s performance of ‘I’ll Cover You (Reprise)’ broke hearts with the sheer emotion poured into every note; you could have heard a pin drop with how entranced the audience were. They had a brilliant stage presence as Collins, bringing alive the open-hearted nature that makes Collins who he is. 

Whilst the cast were all fantastic individually, they all also had this authentic chemistry with one another that is unmatched; this chemistry cemented the found family aspect of the group and all together they showed the undeniable love they all have for each other, as could be felt continuously throughout the show. 

Honeywell and Goodman worked well together as Roger and Mimi; the pair effortlessly brought a tenderness to their relationship during ‘I Should Tell You’, and the love between the two was incontestable. Similarly, the pair then went on to perform ‘Without You’ breathtakingly in act two. Matched with the staging of various other characters in the show being present throughout, this song in particular pulled on the heartstrings.

They were not the only couple to win over hearts – Boncey and Young’s ‘I’ll Cover You’ was faultless at showcasing the adoration Angel and Collin have for each other and it was heartwarming to witness such a beautiful display of affection and moving performance of such an iconic musical number.

Usually, Rent is made up of a small cast; BATS have extended the cast – presumably to get as many people involved in the show as possible. Whilst this is not traditional for Rent, for this production it works well as it amplified that feeling of community and togetherness, and gave everyone a moment to shine. The soloists in ‘Season of Love’ (April Fost, Jade Hollingshead, Benedict Kennedy, Eronwy Selwyn, Chloe Watts) really took their moment and showed off what they could do. Furthermore, I have to mention that the subtle occasional inclusion of sign language within ‘Seasons of Love’ made my heart very happy to see. 

Rent is weird (‘Over The Moon’, I’m looking at you), chaotic and at times messy. But that’s what makes it what it is. Whilst the production wouldn’t mind some polishing, this does not make it any less enjoyable. There’s something in the fact that all these years later, Rent is still being performed and loved by people of all ages and upbringings and walks of life. I would say it’s damn near impossible to sit there watching this incredibly hardworking and devoted company pour their hearts and soul into the show, out there on the stage for all to see and not feel anything. They are all marvels and have created something really special here.

Rent could not be more relevant a musical, with the ever-present themes of community, living for every day, love, hope and so much more. The company of BATS as a whole should be proud of what they’ve accomplished with their production of this musical and for bringing these themes to the show so skillfully. By the end of the Finale, there was not a dry eye in the house – and rightly so. The ability to both warm and break hearts at the same time is not one everyone possesses, but clearly this company does. Rent requires a level of maturity to stage it at all, let alone do it right, but BATS have done it, with understanding, compassion and real sensitivity.  For a few hours, they succeeded in making the world outside fade away and I was lost in this beautiful story, beautifully told.

Leyla Demirel
One Show at a Time

Shrek Review, November 2022 - NODA

Scenery/Set/Properties: The sets were excellent and very realistically created and beautifully painted, bursting with colour from the greenery of the forest and swamp to the pastel pink of the castle. The set dressings were all appropriate and well chosen, and the props were amazing, ranging in size from the white sticks for the blind mice to Lord Farquaad’s horse and the Dragon, the latter two bringing gasps from the audience. Many smaller props such as the exploding bird shortly after the interval also deserve a mention as well as Pinocchio’s expanding nose. Princess Fiona’s transformation that took place behind gauze was ingenious.

The programme: The programme – A4 and in colour was well laid out with comprehensive list of cast and crew, cast photos and information about auditions for future productions.

Costumes: The costumes were fantastic and of high quality and well fitting. There was great attention to detail such as the wooden appearance of Pinocchio’s legwear. The costumes were bold but well balanced. This was a large cast with a variety of costumes and numerous changes. It was obvious a lot of thought and hard work had gone into creating the looks. Lord Farquaad’s costumes were cleverly design to give the impression of his diminutive stature. The appearance of the fairy tale characters was an absolute burst of colour and a delight to look at.

Lighting and Sound: The lighting was effective throughout and well controlled. I particularly liked the enhanced blue sky filtering through the greenery of the forest. Excellent music from the live band blended well with the first class vocal skills of the performers. The sound – on the night I attended – seemed loud and this meant that, occasionally, some clarity was lost in dialogue.

Hair and Make -up: The make-up was excellent. Shrek’s make up/prosthetic was stunning and was close to the film original. There were many wigs for the guards, the Duloc Dolls and various fairy tale characters.

The Production: Under the direction of Sally Manning, this was musical theatre at its happiest. The comic banter between Shrek and Donkey was terrific with both of them rising to the challenge of breaking through costume and make up with strong performance. Richard Bond’s energy as Donkey was at bursting point and this contrasted well with the laid back nature of Reece Fitzgerald’s Shrek. His irritation that turned into friendship with Donkey was heart warming. Louise Travis as Princess Fiona was graceful as well as hilarious when dealing with the lavatorial humour her role demanded. Ben Kennedy deserves special praise for doing his entire performance, as Lord Farquaad, on his knees. His body language and facial expressions were perfect and had the audience roaring with laughter every time he appeared. Everyone in the ensemble was brilliant including the youngsters who took on the roles of Young Shrek, Young Fiona and Teenage Fiona. I wish I could mention everyone. I would like to have seen more of the fairy tale characters. Overall the show was filled with fun and exuberance and memorable performances. A highlight for me was the feet dressed as rats shown under the slightly raised curtain giving the impression of rats following the Pied Piper. Well done to all at BATS for sending everyone home buzzing and with smiles on their faces.

Chris Horton
District 14 Regional Representative
National Operatic and Dramatic Society (NODA)

Shrek Review, November 2022 - It's All An Act

First Impressions are everything right? Well, the set and scenery for this show was amazing and it gave off the best first impression and did not disappoint throughout the whole show, with the amount of scene changes this show had it was a wonder where the managed to fit it all in. Well done to the stage crew!

The show began and worked us in gently with the opening number Big Bright Beautiful World which was well performed and well sung between Mama Ogre (Laura Burrell), Papa Ogre (Adrien Nortier), Queen Lillian (Jade Williams), King Harold (Martin Boniface-Jones) the voices were well matched and made a great sound.

On came the main man himself, Shrek (Reece Fitzgerald) and I must say that I was pleasantly surprised with everything this character threw at us from the accent, to the singing, the way he held himself, all the way to how he was making us feel towards him, it was a joy to watch, I couldn’t take my eyes off of him. (Not just because of his large green stature).

Then on came the ensemble and OH MY GOODNESS! They looked incredible in their costumes, well done to Molly Limpets and the wardrobe team because everyone looked amazing. The characterization of everyone was obviously well explained and explored because there were little gestures and nuances from the cast that did not go unnoticed. The song Story of My Life which is started by Pinocchio (James Young) was like it was a voice match, I closed my eyes at one point, and it sounded so much like the professional soundtrack, well done.

We then go on to meet the comedy value of the show Donkey (Richard Bond) who was as close to the real thing as you can get in his wonderfully thought-out costume, however the face makeup was questionable. His performance was everything you expected it to be, cool, annoying (for Shrek) and funny, I take my hat off to him because he couldn’t use his hands the whole show, this did not stop his expression, however.

Going on through the story and through the wonderful scene changes by cast and crew we arrive in Duloc, greeted by the Duloc Dolls, who despite the minor wardrobe malfunctions due to the clunky costumes they were amazing to watch and very much in sync with each other, I did feel that a bit more of the “face” joke within the welcoming song to Duloc could have been played more on but that is a personal preference as that bit is so well known within the film, I just felt the pause was a little brief that is all. Anyway on we go to meeting Lard Farquaad (Ben Kennedy) who had a great voice for the role, both within the acting and singing, I felt it had a bit of a Rik Mayall vibe to it which I loved as this developed the character even further. One thing I must say is that I felt the illusion was lost a little bit due to the costume not being quite right on the thigh area as not enough was covered and felt this spoiled a ‘little’ bit. He did not come up ‘short’ when it came to his performance.

When in the presence of royalty, one must congratulate one on one’s performance, Princess Fiona (Louise Travis) sang her way into the audiences hearts and made them laugh it all the way out again, a very comedic actress and the facial expressions anyone would die for. How you did the quick change at the end was incredible and looked very well-rehearsed I must say, because you know what they say “It’s not easy being green”.

Now I must talk about the Dragon, which was just before the end of act 1, IT WAS MASSIVE! It really was astounding, however, there were a few things that I think could have been improved. I could see that it took many people to operate this contraption, and this did spoil the illusion a little, the dragon sings a song and the mouth was not able to move in time with the lyrics, I’m not sure if this was because of the size? How it was operated? Or due to lack of time spent with the dragon on stage as I would assume that this was not used in the rehearsal room (I could be wrong) but I think I would have enjoyed it just as much if there was someone in a “Dragon type” costume perform the song. The Dragon voice (Laura Newborough) was awesome and I thoroughly enjoyed the vocals, just a shame the visuals weren’t to match.

A few honorable mentions are the skeletons which must have found it no small task to perform with their faces fully covered. One thing was I felt was a little off putting within the show was the stuffing and stitching within Thelonius (Adrien Nortier) trousers, an interesting choice and didn’t feel this was appropriate for a family friendly show, an interesting directorial decision made there. The three blind mice were awesome and this song was well rehearsed and I was also very surprised to see a tap number featured in the show which was lovely and very cleverly done with use of the curtains. All the children (Isla Clarke, Sophia Newborough and Ayla Tipp) within the production that I saw (as it was a split child cast) were great and looked like they were thoroughly enjoying within this production and were very well rehearsed, well done.

Well done to all involved in this production, it was well staged, well sung, well lit, well performed and sounded great. This was a very professional looking production, thoroughly enjoyed the evening and had to rest my cheeks (face ones) from laughing all of the way through.

Jaz Wilson
It’s All An Act