Opera Australia: RENT - Review by Daniel Conway

I believe there is a three-point criterion that must be met before a musical can be called iconic: cultural relevance, memorable music, and a distinct identity. RENT fulfils this standard and earns its place in the pantheon of great works. At its heart, the show interrogates the search for meaning in an increasingly commodified world, what it means to live on the margins, and how we must value the life we have. While the setting is a time capsule of a specific moment — New York City during the AIDS crisis — its ideas remain pertinent, particularly in light of the collective existential dread many feel about the state of the world. The score is full of undeniable anthems that are the stuff that dream roles are made of. I do not know a single musical theatre girl who has not belted out “Take Me or Leave Me” at a mic check, or who among us has not sung along to La Vie Bohème and Seasons of Love. As for identity, RENT was groundbreaking with its edgier, more unpolished sound while still carrying the DNA of classical musical structure. There is a clear line between the work of Sondheim, Larson, and Lin-Manuel Miranda, emphasised by their penchant for numbers that layer vocal lines in ways both harmonious and discordant. Which is why it’s fair to say that taking on a legendary musical is a feat, but doing it exceptionally well is an art. Opera Australia’s latest staging proves why this piece endures and features genuinely memorable performances.

When you walk into the Joan Sutherland Theatre at the Sydney Opera House, the first thing you notice is the set. Designed by Dann Barber, it captures the industrial, raw aesthetic of the story. I was impressed by the modular nature and the fact that almost every piece served more than one purpose. There was an economy of space that created dynamic scenes and fluid transitions. I love when the cast moves the set in a production, and this ensemble was a well-oiled machine that, for me, underscored the sense of community that permeates the narrative. All of this was enriched by Paul Jackson’s lighting design. I was especially taken with the use of stage lights through windows to give the impression of a vibrant, breathing city. Director Shaun Rennie made some incredibly smart choices that kept the show feeling fresh and contemporary. While the context is baked into the script — references to pagers and specific language — the stripped-back aesthetic and lack of props that might date the work helped maintain focus on the universality of RENT’s themes. Every technical element was carefully considered and worked together to create an immersive night of theatre.

RENT is an ensemble piece where every role has a moment to shine, and shine they did. One thing I was thrilled about was that no portrayal felt like an impersonation or homage to previous, well-documented versions. The cast created something authentic, which I found endearing. Henry Rollo plays Mark with a charming awkwardness. He loves his friends and community but remains a detached, voyeuristic figure who frames the narrative. I have seen productions where Mark is played as “cool”, and this never felt right. Rollo’s interpretation is spot on for me. Outside of La Vie Bohème, where he is buoyed by community, he lingers on the edges. His physicality has a meekness while never losing stage presence — difficult to achieve, but perfect for the shift to “What You Own”, which explodes with his tension and energy. Roger, played by Harry Targett, has a beautiful voice. Targett brings a cool, angsty energy and successfully communicates the emotional journey Roger undergoes. If I am honest, I don’t love his final song Your Eyes, but I did love how Targett delivered it. There was restraint in his voice, as if holding back tears, which I found compelling, and his chemistry with Mimi throughout was off the charts.

Mimi, played by Kirstin Paulse, is an absolute powerhouse. Her entry in “Light My Candle”, and I say this without a hint of irony, lit up the room. She is a force on stage. During “Out Tonight”, you could have sworn she was ten feet tall, radiating the energy of a pop star. Not to be outdone is Calista Nelmes as Maureen. “Over the Moon” is a strange number — part song, part absurdist monologue, part parody of performance art — and it needs both strong direction and a brilliant actor. This production has both. Nelmes had the audience eating out of the palm of her hand. She is magnetic and charming, and she brings the house down with Imani Williams during, in my opinion, the best number in the show — “Take Me or Leave Me”. Williams’ portrayal of Joanne adds dimension to one of the less developed characters. In weaker hands Joanne can feel one-note, but Williams is far from a weak performer. The same is true for Benny, played by Tana Laga’aia. Benny has less stage time and much of his arc occurs off stage, so his shifts and development must be conveyed through presence and interaction. Laga’aia achieves this. It is a shame Benny is not featured more, as his voice is so pleasing to hear.

Rounding out this motley crew are Collins and Angel, played by Googoorewon Knox and Jesse Dutlow, respectively. Knox and Dutlow form the emotional core of the musical and have wonderful chemistry. They exude confidence and charm, and their voices in “I’ll Cover You” blend beautifully. While they are playful and engaging in lighter moments such as “Santa Fe” and “Today 4 U”, it is their serious scenes that I will remember for a long time. Their acting in “Without You” is heartbreaking and palpable; this builds with Dutlow’s physicality in “Contact” and culminates with Knox’s stunning rendition of “I’ll Cover You (Reprise)”.

The principals are supported by a vibrant ensemble who bring tremendous energy to the stage, their voices filling the theatre. This is particularly true in the iconic “Seasons of Love”. As a treat for opening night, we heard it twice, with the performers joined by members of the original Australian cast of RENT. Seasons of Love is the show’s manifesto and has become synonymous with the work itself. The number features solo lines from Carmel Rodrigues and Theo Williams, and both owned their moments. Rodrigues stunned and earned cheers from the audience both times she performed.

RENT itself is not a perfect musical. I often wonder if the decision to leave it unedited after Larson’s death was the best choice, but then again, it adds to the mythos that elevated the work from cult hit to groundbreaking success. At two and a half hours, including an intermission, it is a long night, but Opera Australia’s cast and crew make it deeply engaging and immersive — worthy of its iconic status.