Nearly 30 years after it burst onto Broadway, Rent remains a landmark. It won four Tony Awards and a Pulitzer Prize, but its true legacy lies in how it blew open Broadway’s doors to the misfits, bringing ’90s rock, raw emotion and the gritty diversity of real New York life to the stage. It didn’t just reflect a generation, it shaped one.
For theatre kids like me, Jonathan Larson’s words were the ones we belted backstage and found ourselves in. And it wasn’t just us, Rent inspired Lin-Manuel Miranda to write In the Heights and paved the way for the Glee generation: a wave of fans and artists who saw musical theatre as urgent, inclusive and unapologetically cool.
Now, Opera Australia is reigniting that spark for a new generation with a bold, heart-filled production.
What’s the premise of Rent?
Jonathan Larson’s rock musical Rent follows a group of seven struggling young artists and friends trying to survive and create in New York City’s Lower East Side during the late 1980s. As the AIDS epidemic spreads and claims lives around them, they grapple with love, illness, addiction and the looming threat of eviction. At the same time, they face a growing disillusionment with capitalism and the gentrification rapidly reshaping their neighbourhood.
Who makes up the cast of Rent?
As in Puccini’s La Bohème, the inspiration behind Rent, the story begins with two friends: Mark (Henry Rollo, Rocky Horror Show), a struggling documentary filmmaker, and Roger (Harry Targett, Dear Evan Hansen), a musician recently diagnosed as HIV-positive. They’re shepherded by Collins (Googoorewon Knox, Hamilton), a philosophy teacher and father figure who always seems to appear with food or help when it’s needed most. They’re regularly joined by Mark’s ex, Maureen (Calista Nelmes, Jesus Christ Superstar), and her new partner Joanne (Imani Williams, Hadestown), a sharp, Harvard-educated lawyer.
Roger and Collins’ lives are transformed by two new arrivals: Mimi (Kristin Paulse, Tina: The Tina Turner Musical), a fierce and troubled dancer, and Angel (Jesse Dutlow, &Juliet), an HIV-positive drag artist with an endlessly positive and generous heart.
What are the highlights of this production of Rent?
The strength of Rent is Jonathan Larson’s music which quickly transcended the show with songs like ‘Seasons of Love’ and ‘Take Me or Leave Me’ becoming cultural anthems for a generation. Shaun Rennie’s direction and collaboration with this talented production team meets Larson’s passion with exuberance and technical finesse.
Jack Earle’s musical direction is sublime, partnering effortlessly with this talented group of performers to bring a rock concert to the Opera House that is thrilling, raw and emotional. Earle gives each performer room to riff and improvise while staying rooted in the storytelling, keeping the energy fresh and alive.
Targett gives an emotional and heart-wrenching performance as Roger, voicing both the quiet confidence and vulnerability in his dynamic with Mimi. He builds sympathy quickly, pulling the audience through the story with his outstretched hand. Gamilaraay actor Googoorewon Knox is deeply moving as Collins, utilising his impressive range to imbue the show's voice of reason with so much heart and heartache it brought me to tears. Nelmes is unbelievable as Maureen, a rocketship taking flight that brings laughs just as easily as she brings wisdom. I would go and see this show again just to see her performance of ‘Over the Moon’, a masterclass in vocal control, comedic timing and sheer charisma.
Honestly, every cast member shines – this is an ensemble of Australia’s best performers
Ella Butler’s costume design channels ’90s grunge with vivid authenticity, perfectly complementing Dann Barber’s set – a crumbling, layered vision of New York in decay. Scaffolding frames the stage, creating a fractured, urban landscape and forming the loft space against a backdrop of fading facades. Paul Jackson’s lighting design expertly moves shadow through the space, moving us through New York’s darker sidewalks where deals are done and lives are changed.
Why is this a four-star production?
While this production vividly evokes ’90s New York, the scaffolding-based set proves limiting for both choreography and direction. Wing space feels underutilised, and when it is used, it's often too crowded to showcase the nuance of Rennie’s precision. In several numbers, the only way to build momentum or visual climax is by rotating a set piece with performers on either side, a device that quickly becomes repetitive and at times disorients the audience away from the score’s emotional beats. Ultimately, the staging lacks the fluidity needed to fully match the freedom the performers have with the score.
That said, these moments are few and far between, and ultimately, Rennie’s vision is specific, well-executed and pays thoughtful homage to Rent's original staging.
Who will like Rent?
This show is for everyone – but especially the misfits. Give it a chance, and you might discover a misfit quietly living inside you, too.
Tickets for Rent at the Sydney Opera House are on sale now. Prices start at $69+booking fee. Find info and book in at opera.org.au.
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