Opera Australia’s staging of Rent electrifies the Sydney Opera House with a bold, heartfelt production that feels both timeless and urgently of today.
With the Opera House’s grandeur as a backdrop, the production delivered a raw, vibrant, and deeply moving experience that left the audience both exhilarated and reflective.
Opening night unveiled a production that was both faithful to Jonathan Larson’s original vision and elevated by the artistry and resources, of one of the nation’s leading performing arts companies. Offering an electric force, proving once again that this timeless rock musical resonates as powerfully today as it did nearly three decades ago.
Directed by Shaun Rennie with Original Producers, Lauren Peters and Toby Francis, along with Executive Producer, Pella Gregory and Supervising Producer, Dwan Delker, this version of such an iconic musical was certainly a polished yet heartfelt rendition, that resonated deeply with its audience.
With Original Concept and Additional Lyrics by Billy Aronson and Musical Arrangements by Steve Skinner including Music Supervision and Addition Arrangements by Tim Weil, this performance is certainly raw, polished, and profoundly moving — Rent proves the enduring power of theatre to connect us all.”
From the first pulsating chords, the cast’s energy filled the iconic space with standout performances anchoring the show, blending powerhouse vocals with emotionally charged acting that captured the gritty realism and hopeful spirit of Larson’s vision.
The cast assembled for this staging was nothing short of exceptional. Each performer demonstrated a mastery of both vocal precision and emotional truth, inhabiting their roles with an authenticity that gave new vitality to Larson’s beloved characters.
Angel performed by Jesse Dutlow is fierce and offers stunning vocals with Googoorewon Knox offering a grounded and heartfelt performance with his role as Collins.
Tana Laga’aia is stern with a powerful voice and character with his role as Benny with Calista Nelmes embodying her character Maureen with absolute precision and passion, that literally bought the house down. Kristin Paulse is both powerful and sassy playing Mimi and Henry Rollo showcases incredible talent in his role of Mark. Harry Targett plays Roger with a sense of quirky strength and vibrancy just as Imani Williams with her role as Joanne.
The talent, the vocals, the interpretation and insight into each of these beautifully layered characters will draw you in and make you fall in love with these special and unique personalities all over again.
The ensemble worked seamlessly as a whole, with several standout performances showcased, offering moments of intimacy and intensity that lingered long after the curtain fell.
Certainly indicating Opera Australia’s commitment to nurturing remarkable talent. They are all equally charismatic and talented, including Anna Francesca Armenia, Kobe Brown, Sam Harmon, Lawrence Hawkins, Carmel Rodrigues, Eliza Soriano, Stacey Thomsett and Theo Williams. Chad Rosete is an onstage cover as is Bree Tipoki also acting as the Resident Choreographer.
Visually, the production struck a balance between grit and grandeur.
The Set Design by Dann Barber and Costume Designs from Ella Butler remained grounded in the bohemian world of New York’s East Village, while the lighting and staging took full advantage of the Opera House’s scale, transforming the venue into a canvas of urban poetry.
The Musical Direction from Jack Earle was equally strong, the band driving rhythms and nuanced orchestrations captured the raw energy of Rent’s score, yet never overwhelmed the human stories at its core.
Choreography by Luca Dinardo was both creative yet subtle as the elements of movement appeared and blended beautifully with continued flow to the interchanging sets and scenes.
What ultimately defined this staging, however, was its impact. In an era still marked by social and cultural challenges, the themes of community, resilience, and love found urgent resonance.
The Sound Design from Evan Drill keeps the rock concert theme and power alive throughout the show, although at times the blend made it a little difficult to determine between the demanding vocal ranges and impactive music.
The audience’s response was a testament to theatre’s enduring power to provoke both thought and feeling. Rent in this context became more than a musical — it was a communal experience, bridging the gap between art and life.
Opera Australia’s Rent stands as a landmark production for the company, daring, deeply felt, and impeccably crafted. It affirms the relevance of Larson’s work while demonstrating how Australia’s foremost opera company can expand its repertoire with productions that speak directly to contemporary audiences.
The production quality was nothing short of exceptional. Lighting Design by Paul Jackson infused each scene with atmosphere, from stark, moody tones underscoring struggle and loss, to bursts of colour that mirrored moments of joy and community.
The staging was modern yet respectful of Rent’s roots, allowing the narrative to breathe while embracing the Opera House’s expansive stage.
What stood out most was the impact. The audience was visibly moved — laughing, crying, and clapping in unison, caught up in the rhythm of a story that demands us to consider love, loss, resilience, and the fleeting nature of time.
Opera Australia’s rendition of Rent is more than a musical, it’s a visceral experience, a reminder of theatre’s ability to connect us across generations and struggles.
Bold, heartfelt, and impeccably executed, Rent at the Sydney Opera House is a triumph — a show that not only honours Larson’s legacy but elevates it, leaving its audience profoundly touched.
A must see!
