Review: Rent - DCG Project

Society name: DCG Project

Show name: Rent

Adjudicator date of attendance: 18th June 2026

Rent is a dark brooding 1980’s not for laughs musical, loosely based on “La Boheme” by Puccini, and set in a run-down partially abandoned apartment block/squat in New York’s Lower East side. Whilst there are some lighter moments, it remains dark throughout with songs that are heavy with angst. All of the characters are either HIV positive (there are multiple references in Act 1 to AZT), homeless, on drugs, or all three.

Dominic Reid, the “D” in “DCG”, designed a dark industrial, mostly black set with a rostrum centre, and a table and an old oil can and pretty much nothing else. Above the blacks/scaffolding which hid the 6-piece band was a projection screen which had initially logos for both DCG and “RENT”, and which later had visions of the NY skyline. Not surprisingly this was not a big budget production, I’m assuming the costumes were either supplied by the cast or purchased from local charity shops, so they fitted the look of the mostly down and out characters well. The ensemble remained on stage for most of the production as homeless street sleeping, hard drinking and I assume drug taking characters, occasionally joined by actors dressed as NY cops or others that fitted the narrative. The pace of the show was very good with very few stops, the raised platform with the table had just enough room to move about 2 feet into the recess at the back of the stage, but I wondered if it needed to be moved at all? It assisted a more elaborate “Tango: Maureen” and another scene in act 2, but I felt it didn’t need to be moved at all, particularly as the use of the stairs and front platforms left and right of the stage were established early in the piece, so there was room to move the cast closer to the audience. I liked the torches in “Happy New year”. I wasn’t particularly fond of the staging of the funeral scene – I liked the body doubles on the platform/bed, which added to the emotion of Collins lament in the “I’ll Cover You” reprise. All of this beautiful scene was upstaged by the ill-judged addition of a group of ghosts acting out various scenes on the floor. This didn’t work for me, regardless of whether the director’s intent was to suggest a dream/nightmare/life flashing before eyes etc. Sadly, the finale was a little hampered by the failure of the projector which had failed early in Act 2 and couldn’t be restarted. Otherwise, this was strong direction of a strong cast in a difficult to tell story.

Catherine Griffin – the “G” in DCG, was in charge of assembling a 6-piece band which drove the rock score efficiently. I have to confess that although there is a credit in the programme for an accordion/saxophone combo, I couldn’t quite make out either instrument and I tuned in regularly to listen out for both. The other instruments came across clearly with guitar, bass and drums augmented by 2 keyboards. The organ during “O Holy Night” was lovely. Singing was of a very high standard throughout with some standout performances. Harmonies where required were also clear and well sung by the principal and ensemble players.

Chris Corroon, - from what I can gather NOT the “C” in DCG, was in charge of movement and where required this worked well. This is not a happy clappy song and dance musical and the choreography was suited both to the mood of the various scenes and the ability of the ensemble. I liked the tango, they even had a few Argentine tango flicks thrown in, and where the ensemble was required, they performed well.

Andrew O’Grady played Roger. This part requires a very strong singer and actor and Mr. O’Grady was well up to the task giving a very brooding performance of the character as he comes to terms with his diagnosis, impending eviction, and struggles with relationships. His interactions with Mimi were appropriately awkward and underlined his internal struggle, wanting to connect with others but shying away from the HIV cloud that hung over his life. “Another Day”, “Glory” and “Light my Candle” were highlights showing his vocal range and ability to act through song.

Charlie Reid as Mark, and yes, he is the final letter “C” in the DCG, gave a performance that belied his age. A pivotal role in this story, Mark is a struggling filmmaker constantly shooting film of his peers’ lives, with no firm idea of what it will all lead to. He was strong and secure in the start of the “support group” piece, sang well in “What you own” with Roger, and “Tango Maureen”. This character is a central feature of the story line and Mr. Reid held the narrative together throughout.

Mimi was played by April Kelly, a wonderful performer but her singing voice is an instrument of some considerable strength and power. What was most impressive was her gradual decline through the story, as she struggles with her addictions, she managed to reign back on her comfortable belt, and deliver a sensitive, heartbreaking performance. As Act 2 unfolded her life began to crumble as she descends into (what we expect will be) a tragic end, her acting and singing matched perfectly the slow and steady decline. Well-acted and well directed.

Karl Dawson as Collins gave a strong, yet understated performance of yet another character struggling with the HIV cloud hanging over his head. His relationship with “Angel” from the early scenes where Angel helps him recover from a beating/robbery, to when “Angel” finally succumbs to the virus was underscored with a mature and often hairs tingling at the back of the neck vocal performance that made the audience swoon. “Santa Fe” was beautifully sung, as was the main “I’ll Cover You” and particularly sensitive in the reprise.

Barry Dunne as Angel had the unenviable task of playing a drag queen against a professional drag queen, but Mr. Dunne gave a very sensitive portrayal of this complex character. The Character of Angel is both a drag queen and street performer and she showed off her percussion skills by drumming on the furniture and scaffolding. She sang well for “Today for me A & B” a difficult task for anyone to sing in this extremely talented group of top-notch singers.

Dan Whelan appeared as Benny. This is always a confusing character in this story, friend and landlord, saviour and nemesis, Dan Whelan managed to figure out a way to be all four, from his introduction on the steps of the auditorium to various interactions with Roger and Mark as he plots to both evict and re-house them in a soon to be renovated building. Mr. Whelan sang well throughout and in particular in the “Last Supper” type staging of “La Vie Boheme”.

Stephanie Byrne was introduced as Maureen with a fanfare for her big number “Over the Moon” a half spoken half sung monologue which she jumped into with gusto. She did so many head flicks, I hoped she didn’t have whiplash afterwards. This section of the story, even though it’s a lament on the environment and “Cyberland”, brings a much-needed respite in this otherwise dark tale. Little did Jonathan Larson realise just how prophetic his lyrics would be given our current obsession with technology and AI. Stephanie was an excellent choice as Maureen and brightened up every scene she was in. I particularly enjoyed her singing in “Take Me or Leave Me”, where she showed beautiful range and tone.

Seana Stenson as Joanne was a cool, suspicious counter-balance to the whirlwind that is Maureen. She sings the “Take me or Leave Me” duet with Maureen and as with some of the other performers had to contend with a stand out singer as a duet partner. Nevertheless, she acquitted herself very well and showed an excellent grasp of the complexities of her character.

The ensemble in this production, probably better described as such rather than as a chorus, were the set, furniture, and colour of this production. On stage for a greater part of the show they provided a setting and a context for everything good and bad that was happening around the principal players. When called upon they sang well and in particular joined in for “Another Day” with well-balanced harmonies. They were also present for most of “La Vie Boheme” and for the opening of act 2 with “Seasons of Love”, and added colour and depth to the vocals.

There is no one person credited as stage manager, so I assume it was a collective effort. A very simple set design and vision, with very little movement of the main piece which was the raised platform in the centre. The first movement of the platform took longer than I assume they anticipated, and as mentioned above I’m not even sure it added greatly to the staging of the next scene. I felt the use of the stairs in Act 2 for the telephone call with Benny was ill advised as the audience resembled a tennis match looking back and forth.

A black set is very difficult to light for any designer, and this was no exception. Although there were a good supply of LED’s and other modern lighting, most of the subtle changes were lost on the black set. I liked the strip of “Christmas” lights on the scaffold upstage and these did change colour as the story required. I felt it only required half-light for the set change in “Another Day”. The stairs were used on a number of occasions as were the raised platforms down stage left and right and these were well lit. Sound was for the most part excellent, I could hear all the actors and most of the band. As mentioned above I didn’t notice/hear the saxophone, but may have missed/confused the accordian with one of the keyboards. Overall though the sound was very good.

Again, there are no credits hair and make-up, so I assume that the cast looked after their own, with the exception of course of “Angel” who had a very nicely fitting wig and make-up. Costumes were well judged - I assume they were either provided by the cast themselves or via local charity shops, which given the story was appropriate. I liked how Mimi looked more and more haggard as the story unfolded in Act 2.

Adjudicators suggestions.

I’m immediately drawn to the advice of that well known Broadway producer “Max Bialistock” – i.e. “never put your own money in a show”, but have to take my hat off to the DCG team for having the courage to put their money where their ambitions lie with attempting to put on a fully staged musical without the backing of an established society, with all that it can provide with regards to FOH, Tech, Set and stage, etc., not to mention that dirty word….”money”.