Joaquin Pedro Valdes on why ‘Rent’ remains relevant in West End 30th anniversary revival

Filipino West End star breaks down ‘Rent’s’ enduring message as he takes on Benny in the show’s 30th anniversary staging.

West End star Joaquin Pedro Valdes was eager to revisit “Into the Woods” after he was tapped to play “Cinderella’s” Prince Charming in its Philippine restaging last year. As it turned out, that long-awaited homecoming wasn’t meant to be.

The homegrown Filipino actor, who relocated to the United Kingdom in 2018 after passing the auditions for “Miss Saigon,” is no stranger to the Sondheim musical. In fact, he played Jack to great acclaim in the 2007 adaptation of “Into the Woods”—which we directed for Monique Wilson’s New Voice Company.

His fascination for Sondheim eventually led Joaquin to his critically acclaimed characterizations of John Manjiro in “Pacific Overtures” in 2023 and as Herakles in “The Frogs” last year.

While Joaquin didn’t get to do “Into the Woods” again, it did seem like playing royalty was inescapable for him because, a few months later, he was cast as Prince Chadley in “Cinderella.” at the Rose Theatre Kingston.

“Everything works out for the good,” Joaquin mused in retrospect during this exclusive chat in between his rehearsals early this week.

Valdes (right) as Light Yagami and Adam Pascal as Ryuk in “Death Note The Musical.” Photo by Mark Senior

Joaquin is arguably the most prolific homegrown Filipino actor living in the UK these days. His evolution as a theater artist continues to impress us because he gets cast in roles that aren’t traditionally assigned to Pinoys in the West End or on Broadway.

Besides, getting hired in 18 productions in eight years is no easy feat! The stellar lineup includes roles in “Pacific Overtures,” “The Baker’s Wife,” “Heathers: The Musical,” “The Lightning Thief: The Percy Jackson Musical,” “Alfred Hitchcock Presents” and the career-boosting “Death Note The Musical” (as central character Light Yagami).

We reached out to the actor after he won the role of Benny for the 30th anniversary staging of Jonathan Larson’s “Rent,” which begins previews on Sept. 26 at the Duke of York’s Theatre and runs until March 27 next year.

Larson’s groundbreaking musical, about a group of young artists in New York’s East Village, returns to the West End under the helm of Luke Sheppard (“& Juliet”) and starring Gaten Matarazzo (of “Stranger Things”) as Mark.

Here’s the rest of Joaquin’s exclusive interview with radar Entertainment:

The New Voice staging of “Rent” in 1999 gave birth to a generation of Rentheads—the rock musical’s devoted fans—in the Philippines. Why do you think Larson’s message is still relevant after 30 years?

I remember the NVC staging of “Rent” so vividly. I was technically far too young to be admitted, but I was already a very stagey little Renthead (laughs). Monique (Wilson, NVC artistic director/producer) laughed and let me into the Music Museum because she understood what seeing that show meant to a kid like me.

I even remember being backstage in a musical in Manila, jamming to “La Vie Bohème” with Topper Fabregas and Sheila Lina, and being told off by stage management because we were enthusiastically singing all the swear words (laughs)!

What excites me most about this production is the chance to give a new generation that same sense of electricity, rebellion and celebration. Larson’s message remains relevant because people are still fighting to live, love and make art in a world that can make all three incredibly difficult. 

“Rent” is honest about loss and uncertainty, but it refuses to surrender to despair. How we choose to live today matters. That feels as necessary now as it did 30 years ago.

Your character, Benny, is sort of a kontrabida in the story, but he actually drives the conflict in “Rent.” In what way do you relate to him?

One of the beautiful things about “Rent” is that, as we grow older, we begin to understand all the characters Larson clearly loved. When I was younger, I identified with Mark because I was a filmmaker myself. Then I became Roger. And after living through the reality of being a working artist—supporting myself through bar and front-of-house jobs between acting work—I’ve gradually come to understand Benny.

Yes, Benny’s the kontrabida we all love to hate, and I’m not saying he handles everything well. But he does offer his friends something almost impossible: the chance to live rent-free in Manhattan, which allows them to continue making their art, provided they stop the protest. From his perspective, he’s found a practical solution and can’t understand why they won’t take it.

Having lived a little more life now, I no longer see Benny as simply the villain. He represents pragmatism—the tension between protecting your ideals and doing what you think is necessary to survive. I’ve stood on both sides of that argument.

You didn’t play the Prince in “Into the Woods” but ended up playing another prince in “Cinderella” anyway. Can you walk me through this period that led you to “Rent”?

After “The Frogs,” I played Prince Chadley in a gorgeous reimagining of “Cinderella,” directed by Owen Horsley and written by Chris Bush and Roni Neale. I loved every second of it, especially performing such a joyful show over the Christmas season.

After a short break, I began rehearsing another new musical, “The World’s Greatest Lover,” playing Romeo of “Romeo and Juliet” fame. Unfortunately, the production was postponed due to unforeseen circumstances.

So I joined the many unemployed actors in London grafting and finding ways to pay the bills. I was working front of house at a theater when my agent called to say I had been invited to the final auditions for “Rent.”

I went in without much pressure. I simply wanted to honor a show I had loved for so long. Afterwards, I called Agee (Romero-Valdes, his wife), as I usually do, to tell her how much I had enjoyed it. A week later, my agents called to say I was being offered Benny in the 30th-anniversary West End production of “Rent.” I can still hardly believe it.

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