Musical theatre / Rent, Opera Australia. At Sydney Opera House, until November 1. Reviewed by BILL STEPHENS.

 Watching this production in the vastness of the Joan Sutherland Theatre in the Sydney Opera House it was impossible not to be struck by how incongruous it looked.

Although creator Jonathan Larson drew his inspiration from a well-loved opera, Shaun Rennie’s brilliant stripped-back, low-tech interpretation, with its op-shop costumes, stark steel scaffolding scenery, with components manipulated around the stage by the cast, that had worked so well in more intimate venues as it toured the country last year, now seemed the very antithesis of the purpose for which the opera house was built.

Voices are now amplified to the point where it is often impossible to hear the lyrics, with the predominantly new cast appearing to have been directed to broaden their performances to the point where, for this reviewer at least, it is no longer possible to empathise with the characters, who have now become caricatures, who prefer to embrace the squalor of their environment, and despise those of their number who aspire to lift themselves out of it, with shouting, pushing and shoving replacing subtlety and nuance.

Although none of that seemed to worry those in the audience on opening night, who were determined to greet their efforts with rapturous applause.

Rent is a director’s show, in much the same way as abstract shows such as Hair and Jesus Christ Superstar offer possibilities for daring interpretations. Shaun Rennie has embraced this opportunity and surrounded himself with an outstanding creative team who include choreographer, Luca Dinardo.  Dann Barber designed the sets, Ella Butler the costumes, and Paul Jackson and Evan Drill respectively, responsible for the lighting and sound. Jack Earle is the musical director.

Outstanding moments include a representation of The Last Supper, an eye-popping orgy scene, the death of Angel, and a glorious rendition of Seasons of Love. However, it is hard to forgive Larson’s ridiculous decision to have Mimi come back to life at the end to join her friends in the finale singsong, thereby robbing the show of a potentially shattering climax.

Despite the reservation expressed above, this production remains a remarkable interpretation of the show, including innovative staging and thrilling performances, but perhaps the magic moment of the Sydney Opera House opening night was the introduction of members of the cast of the very different, original 1998 Australian production including  Rodger Corser, Justin Smith, Michelle Smith, Genevieve Davis, Prinnie Stevens, Peter Murphy and Troy Woodcroft.

Whether the global success of Rent is due to the legend surrounding the death of the writer and composer of the work, Jonathan Larson, who died just one day before his show opened in New York, or because of the quality of the writing, which earned Larson a Pulitzer Prize for Drama, and the show, multiple Tony Awards, Rent continues to be a magnet for audiences and creatives alike.