The Arden Theatre presents Jonathan Larson’s Rent

Rush seats live on

This production leans into the utilitarian roots of the original Rent. The Arden fills the front rows of the theater with mismatched couches, and audience members in these seats are pulled into the action early on. While the interactivity at the beginning is a little awkward, the connection it builds between cast and audience starts to pay off as the show unfolds. These seats are available only via rush tickets (see below), a clever nod to the Broadway rush program that Rent started.

Also amplified is Mark’s camera. What’s often a character prop becomes a key storytelling device, with live footage and close-ups projected in grainy film atop the stage, designed by Jorge Cousineau. The result is a visually compelling motif that adds both dynamism and intimacy, lending certain numbers a documentary immediacy that heightens their emotional weight.

Small missteps

Not everything works perfectly. In the middle of Act I, the quiet intimacy of “Life Support”—in which characters share the fears of living with HIV—unfolds simultaneously with “Out Tonight” and “Another Day”, in which Mimi convinces Roger to go out for the night. Staging these numbers on top of one another (literally) may offer interesting contrasts in theory, but in practice the result is confusing and visually cluttered.

The relationship between Roger (Matteo Scammell) and Mimi (Leigha Kato) is difficult to track across the arc of the show. It’s hard to feel their chemistry building, but by the time they share a kiss at the end of Act I, the moment lands with payoff.

Endearing and expressive

Mark (Matthew Edward Kemp), meanwhile, is a steady, endearing entryway into the story. His dynamic with Joanne (Imani Moss) during “Tango: Maureen” is one of the show’s standout surprises, full of comedic timing and sharp chemistry. Angel (Gilbert D. Sanchez) brings a quirky charm, even if some of the musical and physical demands feel visible. Still, Sanchez brings lightness and warmth to the role that resonates. And when the time comes, Angel’s death still delivers the emotional gut punch it needs to. Tom Collins (Rajeer Alford) follows with a soul-stirring “I’ll Cover You (Reprise)” that brings the house down (and this reviewer to tears).

Katherine Fried’s Maureen is a standout. Her take on “Over the Moon” is worth the price of admission. Fried plays the part more like an indie rock poet than a showboat diva—more Fiona Apple than Idina Menzel. It makes Maureen feel like someone with real ideas, not just ego.

The ensemble fires on all cylinders when in motion, especially in “La Vie Boheme”, which closes the first act with pure, joyful anarchy. “Will I” is rendered with quiet beauty, and “Santa Fe” is another high point, its tenderness underscored by inventive, expressive choreography.

Larson’s messy beauty

The overall design supports the production beautifully. Paige Hathaway’s gritty scaffolding set, Thom Weaver’s moody lighting, and Jorge Cousineau’s video projections root the show in a visceral visual world. Liz Atkinson’s sound design balances a wall of voices with a tight rock band, and Asaki Kuruma’s costumes help the production feel historically grounded, but contemporary.

When the national tour of Rent last came through Philadelphia, the show felt dated and a little tired. The Arden’s production proves it is still relevant. Yes, some plot points are messy, and newcomers might find themselves confused at times. But it captures the urgency, heart, and messy beauty of what Jonathan Larson created. Even if it’s not perfect, it’s powerful.