‘RENT’ Returns With Grit, Boho Heart And An Electrifying Ensemble

RENT: The Musical is back in Sydney with the raw, chaotic energy of a bohemian block party, alive with heartbreak, joy and the defiant pulse of Alphabet City. Inspired by Puccini’s La Bohème, Jonathan Larson’s rock musical follows a year in the lives of young artists navigating love, poverty, creativity, and the shadow of HIV/AIDS in New York’s East Village.

From its humble debut 30 years ago, RENT grew into one of Broadway’s longest-running musicals, and Shaun Rennie’s revival captures both its grit and grandeur.

The story unfolds episodically, mirroring the tangled lives of its powerhouse ensemble. Relationships spark and fray as art collides with illness and addiction. The plot can feel sprawling, but that messiness only adds to the show’s authenticity.

RENT brings 90s grit and all the feels to Sydney Opera House

The cast’s chemistry is electric, carrying the show as they riff off one another with the ease of a true found family.

Henry Rollo’s Mark briskly narrates much of the story with dry wit, endearing awkwardness, and gentle vulnerability, landing most of the laughs while keeping the story grounded.

The show truly bursts to life with the arrival of Maureen, played by Calista Nelmes. From her first entrance, she transforms Over the Moon into a showstopping mix of comic excess and vocal firepower. Nelmes commands the stage, even waving the audience into applause mid-song, and ultimately it feels like the role she was born for.

Kristin Paulse’s Mimi contrasts sensual bravado with fragility, moving effortlessly from her electrifying first number Out Tonight to the vulnerable I Should Tell You.

Jesse Dutlow and Googoorewon Knox’s Angel and Collins steal hearts and anchor the show with tender heartbreaking chemistry, while Imani William’s Joanne, emerges as a surprise highlight—her striking vibrato cutting through the hilarity and charm of Tango: Maureen.

Harry Targett’s Roger delivers raw, anguished emotion, though besides the fire of others, his impact feels gentler but no less vital.

Shaun Rennie’s revival delivers chaos in perfect harmony

Rennie’s staging shines in big ensemble numbers like Another Day. But the clear highlight is La Vie Bohème, a riot of clashing voices, table-dancing, and precise chaos, where yet every performer finds a moment to shine. Luca Dinardo‘s choreography keeps energy high and always serves the story—as the crowded stage comes alive, no matter where your eyes wander.

Seasons of Love soars with harmonies and spine tingling runs from Theo Williams and Carmel Rodrigues. The audience swings between whoops and hushed awe. By the final scenes, sniffles echo through the theatre, proof of the show’s emotional punch.

Dann Barber’s stunning set is in constant motion, reconfigured by cast members, yet the transitions feel seamless. Ella Butler’s costumes evoke the scrappy authenticity of Alphabet City, from Angel’s dazzling drag to Mark’s patched layers. Paul Jackson’s lighting is bold and evocative, underscoring both grit and tenderness. The live band, led with rock-opera ferocity, propels big numbers and punctuates the intimate moments.

The show isn’t flawless: pacing drags in spots, and the ending feels abrupt, as if Larson’s ambitious vision runs out of runway. At times, the wall of sound tips into cacophony, threatening to overwhelm lyrics. But these rough edges feel true to the noisy world of RENT.

Ultimately, RENT is loud, messy, and deeply moving. Rennie’s revival reminds us why Larson’s vision endures: the joy, heartbreak, and resilience of chosen family, artistic survival, and living fully in the face of loss still resonate. Fans will revel in its big numbers, and newcomers will leave hooked. Above all, you’re reminded of Larson’s enduring message: that love, art, and community are worth fighting for.

RENT: The Musical is now playing at Joan Sutherland Theatre till 1 November.