When the anarchic musical Rent burst onto the scene in New York in 1996 after several years in the making it ‘rocked’ the theatre world and its creator and writer Jonathan Larson, who sadly died before witnessing its ultimate triumph, has become something of a legend.

Since then it has been acknowledged as a seminal – almost a cult - showbiz classic, although for those unfamiliar with the work the ‘dialogue’ and story line of the original script can be difficult to grasp at first and it can all appear something of a mélange.

Wirral Globe:

But these few niggles are blown away by the sheer exuberance and vigour of the young cast in this 20th anniversary production which is jointly presented by Theatr Clwyd and the Wales Millenium Centre with Robert Macintosh (brother of Cameron Macintosh) and Idill Theatricals.

The set is based, so it is said, on the dingy apartment in New York’s ‘bohemian’ SoHo district where the musical’s creative muse hung out with a raggle taggle bunch of pals who were caught up in the communal furies of the 1980s.

It is probably a testament to the legacy of the era that embraced both angst and frivolity that a huge swathe of the wildly enthusiastic audience at Theatr Clwyd could not in terms of years have had first hand experience of those times, or the 1990s come that.

Yet they so obviously identified with it despite the lower social profile that now surrounds AIDS, a particular running theme in the piece.

It is, of course, the terrific rock music and dynamic choreography that spins this production into the stratosphere, particularly this latest incarnation where the dancing has been stylised by the vastly experienced Lee Proud, who worked on the London production of Billy Elliott for a number of years.

The musical supervision and input is handled in a most spirited fashion by Phil Cornwell, who plays with the acclaimed band Apple of My Eye, and the whole shebang is directed with nerve and pizzazz by Bruce Guthrie who is currently also artistic director of the National Youth Theatre of Wales.

Such is the feral, often frantic yet clearly passionate, nature of the performances overall that they send the senses whirling much like the cast are doing on stage.

The combination of clear commitment to the roles underpinned by the electrifying, driving music from a live band, all encased in an imaginative and very mobile set design, lifts this into the category of a triumph.

The first act reels away at a corking non-stop pace with barely time for those on stage to pause for breath, and indeed the audience is also caught up in this momentum, which is, frankly, all-embracing.

It has been likened to a modern day ‘La Boheme’ with even one of the characters called Mimi, and there is, admittedly, a certain pathos but whereas a European mindset is maybe tuned to expect ultimate wretchedness, this is America, and hope must spring from despair.

The fifteen-strong cast give it their all with Billy Cullum as Mark Cohen and Ross Hunter as his flat mate Roger Davis as the baseline for the unfolding drama of love and loss amidst the wreckage of lives.

As a rock opera it rivals The Rocky Horror Show on several levels: not least the eye-catching costumes and the whole dazzling technical support.

It is hardly fair to highlight any one of this talented bunch yet the antics of Layton Williams as the transvestite Angel Schunard - where his first crazy appearance on stage involves a somersault off a platform in high heels - is little short of astonishing.

And the terrific ensemble singing and the dancing are infused with a manic energy that rendered many older members of the audience both mute and exhausted. It is a sparkling show.

  • RENT at the Anthony Hopkins Theatre, Theatr Clwyd, Mold until Saturday November 12, at 7.30pm nightly - Saturday matinees 2.30pm (no matinee on 22 October)
  • Box Office 01352 701521 - online booking (no booking fees) www.theatrclwyd.com