REVIEW: RENT at the Sydney Opera House

Walking the red carpet at the Opera House last night felt like stepping into a time capsule. The foyer buzzed with star-studded theatre lovers – some reliving their Rent-obsessed teen years, others introducing the “classic of the musical theatre canon” to a new generation.

For me, Rent has always been threaded through the milestones of my life. I was 14 when my mum took me to see it at The Regal in Perth – Nikki Webster as Maureen, Anthony Callea as Mark (yes, really!). I left with the last t-shirt in stock, a size XL “Would you light my candle?” number that swallowed me whole. Later, during uni, I somehow ended up miscast as “bag lady/soloist number one,” but I didn’t care – Rent was my everything. Now, as a queer woman seeing it with my girlfriend, I realise how much this show has grown up alongside me. Its heartstrings still pull. Its

characters still feel like our friends.

Director Shaun Rennie – himself a lifelong Renthead – has breathed energy and respect into this staging. Supported by Music Director Jack Earle, Choreographer Luca Dinardo, Set Designer Dann Barber, Lighting Designer Paul Jackson, Sound Designer Evan Drill, and Costume Designer Ella Butler, the creative team delivers a production that honours Rent’s raw sincerity while keeping it fresh.

Photo credit: Neil Bennett

Yes, there’s scaffolding (it wouldn’t be Rent without it), but what sets this staging apart is the sectional middle platform. A tall staircase on wheels, shifting side structures, and the transforming middle apartment space gave the show momentum, with the ensemble themselves powering the set changes in near-constant motion.

Costume design is a true standout – inventive and playful. A dress stitched entirely from neckties, a bag-seller adorned with bag couture strapped to their head, a bric-a-brac coat stuffed with odds and ends. Angel may have been a little less glam than tradition dictates, but Jess Dutlow infused her with soul, character, and some gorgeously smooth, “oh!”-worthy vocal licks that lifted the role. Calista Nelmes’ Maureen was neurotic, loveable, and strong – a real firecracker of a performance.

And Harry Targett’s tortured, aching Roger carried the right amount of grit and vulnerability.

Photo Credit: Neil Bennett

At times, the choreography leaned toward repetition, and the Tango Maureen felt a touch clunky, but the intention and character work were there. Vocally, the cast impressed, even if some softer moments were sacrificed to power. Still, what shone through most was the ensemble’s stamina, chemistry, and the sense that this cast is a family telling a story that still matters.

Rent has always been about community, art, resilience, and love in the face of hardship. Last night, that spirit was alive in the Opera House. The show reminded me – and the hundreds of nostalgic fans singing quietly in their seats – that “no day but today” isn’t just a lyric. It’s the heartbeat of a generation.

Rent is on now at the Sydney Opera House, to check it out click here

4 out of 5 stars