Renascence - WAAPA

Reviewed by Kate O'Sullivan

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There’s something inherently exciting about watching performers on the cusp of entering the industry, and this Renascence, presented by Western Australian Academy of Performing Arts students at Studio Underground, leans into that sense of discovery with ambition and heart.

Drawing on the poetry of Edna St. Vincent Millay, with music by Carmel Dean and a book by Dick Scanlan, the piece traces the early life of a young artist propelled from rural obscurity into a bold, bohemian existence. It’s a rich concept, being part biography and part poetic meditation, and while the production doesn’t always land its ideas cleanly, the performers commit to it with impressive clarity and intent.

The ensemble is consistently strong, with each performer carving out distinct and engaging characterisations. Alice Williams delivers one of the evening’s most affecting turns as Mother, grounding her performance in clear emotional stakes that resonate deeply. Sarah Watson, as Vincent, brings a warm, expressive vocal quality that carries much of the show’s emotional weight, her performance both controlled and deeply felt. Luke Barker is immediately engaging as the Editor, his natural charm establishing an easy rapport with the audience, while his additional roles are handled with a playful sense of exaggeration and humour.

There’s also a delightful sense of ensemble chemistry. Barker and Hamish Stewart, doubling as the two Katherines at Vassar, find a sharp comedic rhythm that lifts some of the show’s lighter moments. Harry Ortuso demonstrates strong versatility across multiple roles, particularly as Caroline B. Dowe, with clear physical and vocal distinctions. Tabitha Kerlin also stands out, bringing sincerity and strength to Vincent’s central romantic relationship.

That said, the production does face some technical and structural hurdles. Sound balance proves to be a recurring issue, with the band often overpowering the singers and rendering sections of the lyrics difficult to discern. This is particularly noticeable for Hamish Stewart, whose vocals are occasionally lost in the mix, diminishing the impact of otherwise strong work.

The first half struggles to find momentum, with a sense of narrative drift and a comparatively low energy that makes the storytelling feel less focused. This is compounded by lighting that, while serviceable, lacks depth and dynamism. However, the second half sees a marked improvement across the board. The storytelling becomes clearer, the pacing tightens, and the design elements begin to work more cohesively. Lighting is used with greater intention, and the set, initially somewhat underutilised, comes into its own with more fluid and engaging staging.

Choreographically, the shift is also noticeable. Movement in the latter half feels more organic and better integrated into the piece’s intimate style, favouring expressive physicality over more traditional “dance” moments, to great effect.

As a whole, Renascence is an ambitious and often compelling work that showcases the emerging talents of its cast. While there are elements still finding their footing, the commitment, skill, and potential on display are undeniable—making this a production well worth watching as these performers step into the next stage of their careers.

Reviewer Note: Tickets for this review were provided by WAAPA.