Rent (Sydney Opera House) ★★★★★

Book, music & lyrics by Jonathan Larson. Opera Australia. Joan Sutherland Theatre, Sydney Opera House. 1 Oct – 1 Nov, 2025.

Director Shaun Rennie’s Rent is back, transformed from its earlier 2021 iteration—grown into something larger, stronger, and more deeply grounded. This is Rent done right: a must-see.

This cast is stacked with youthful talent from top to bottom. There is an eagerness in their performances that strives not to just give us the familiar big notes and strut the stage, but to act out each moment with specificity as if it were brand new. They’re giving us the kind of fully rounded characters musicals demand but so rarely receive. The whole experience felt like watching Rent for the first time all over again.

Harry Targett (Dear Evan Hansen) proves himself a leading man, making Roger (a character I’ve always struggled to appreciate) both likeable and believable in his struggles. He’s sullen and withdrawn, yet eager to connect—those two competing drives make him fascinating to watch. His playful sadness turned a character I often find one-note into something far more layered*.

Kristin Paulse (Tina: The Tina Turner Musical) is a killer Mimi—perhaps the first I’ve seen to balance the role’s sexuality and addiction with equal amounts of genuine charm. Mimi and Roger’s horniness over their mutual HIV diagnosis feels almost quaint in an age when HIV can now be rendered undetectable (and therefore untransmittable), and drugs like PrEP help prevent new infections, but there is an emotional truth to their connection.

Henry Rollo (The Rocky Horror Show) may be the first Mark to push the indelible image of Anthony Rapp out of my mind. His sharp diction pays off in huge dividends as he wraps his voice around the lyrics of “La Vie Bohème” and nails every syllable. And I have to carve out space to praise Calista Nelmes’ Maureen. “Over the Moon” is notoriously hard to land without tipping into parody, but she owns the stage from the first beat.

That’s not to ignore the rest of the cast. Jesse Dutlow (& Juliet) brings warmth and joy to Angel, infusing extra life into Googoorewon Knox’s (Hamilton) soulful Collins. Imani Williams (Hadestown) gives Joanne a strong arc—from frustrated, doting girlfriend to confident, sexual equal. And the ensemble is filled with stars in their own right who seize their moments and elevate them. I’m seriously tempted to keep an eye out for days when the alternates take the lead roles as they’re all of such a high caliber.

Much of this success can be traced back to Rennie’s direction. He has clearly lived with this material long enough to find extra nuance in the script and characters. This production excels at the small things that could be easily overlooked. Where the earlier 2021 version was solid but small in scale, this new one has been touring the country through 2024, growing and finessing as it went. It’s a testament to what can happen when creatives have the time and budget to fine-tune their work. In 2021, this creative team was good. In 2025, they are at the top of their game.

Luca Dinardo’s choreography shifts seamlessly—subtly guiding characters in quieter moments, then bursting scenes open with dynamic energy —“La Vie Bohème” is a triumph. Dan Barber’s set design makes full use of the Joan Sutherland Theatre space (My only quibble? Could we not stretch to a revolve on stage? Watching the ensemble manually spin Mimi and Roger on tabletops was anxiety-inducing). Paul Jackson’s lighting evokes a rock concert aesthetic while also focusing the action beautifully. Ella Butler’s layered costumes give each character history and status – and Maureen’s “Over The Moon” outfit has to be seen to be believed.

If I had to pick a fault, it would be that the sound occasionally became muddy in the big, full-company numbers with multiple counter-melodies—but that’s really stretching to nitpick.

I’m no Rent-head, but I’ve had a year full of Jonathan Larson—seeing members of the original Rent cast on stage, catching the Off-Broadway run of The Jonathan Larson Project, and rewatching the film of Tick, Tick… Boom! just because I love it. I even visited the New York Theatre Workshop—the original home of Rent—for the first time this year. And as good as Larson’s other works and works-in-progress were, there’s clearly something special about how layered and complete the vision behind Rent was.

If you’ve not seen Rent (or only experienced the film version) then seeing this production is frankly a non-negotiable – book now! If you saw the 2021 version I’d still say to go see it again because this is on a whole different scale to what you saw before. The joy of this new production lies in its careful balance—reverent, but bursting with exuberance. It’s as if Angel is whispering to us from the wings: “Turn around, girlfriend, and listen to that boy’s song,” one more time.

*Okay silly spoilers from here… Can we talk about Roger’s dumb ass reaction in the final scene? His girlfriend is dying and he’s like “hang on a second, can you just listen to this song I’m working on?” Seriously dude! What next? You want her to stop coughing so you can tell her about the Roman Empire?