No Day Like Today to See Rent: The Musical

Rent

Rent Rating

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A legendary rock opera is coming to the Joan Sutherland Theatre at the Sydney Opera House, ready to electrify the audience. Opening on September 30, 2025, Rent the Musical will run for one month and showcases an exceptionally talented cast portraying a group of young, struggling artists living in Manhattan’s Alphabet City in the East Village.

Set in the early 1992, composer and lyricist Jonathan Larson’s retelling of Puccini’s La Boheme explores battles with poverty and gentrification, love, addiction and the fear and impact of the AIDS epidemic. Yet amongst all of the hardships in their lives, this is ultimately a musical about hope, strength and passion. This group of characters discover the importance of connection and community, living in the moment (“No Day Like Today”) and to measure life in love (“Seasons of Love”).

Larson left a lasting legacy by openly featuring love themes between two gay couples and a duet between queer characters on a Broadway stage when the show first premiered in 1996. This milestone in queer representation in musicals deeply resonated with audiences.

With themes such as the hardships of trying to make ends meet, as well as the coming together of friends when it’s most needed, director Shaun Rennie says, “this show, like what Jesus Christ Superstar was in the 70s and what Hamilton was for that generation, Rent really is a show that spoke directly to the youthful MTV generation.” Now, a new generation of people will fall in love with Rent The Musical.

 

 

Larson wrote the book and subsequent multi-Tony Award and Pulitzer Prize winning musical for his friends but tragically passed away unexpectedly aged 36 from an aneurysm on the eve of his off-Broadway premiere. Despite this, the musical was performed the following night in his honour. Rennie, along with the cast, ensemble and crew, say that they continue to pay tribute to Larson nightly throughout this Sydney production.

Rennie has assembled an experienced and talented cast, all of whom have come from musical greats such as Jesus Christ Superstar (Tana Laga’aia, Calista Nelmes, Henry Rollo), & Juliet (Jesse Dutlow) and Hadestown (Imani Williams) Tina Turner (Kristin Paulse), Dear Evan Hansen (Harry Targett) and Hamilton (Googoorewon Knox). They all have strong voices that are needed for belting out some of Rent’s rock opera songs.

For the preview media call attended today, I got a small glimpse into Rent and I can see that it will be an eye opening full production. The staging is detailed, with revolving movements and the backdrop of typical NYC apartments flanked by the metal criss cross jigsaw of fire escapes. The lighting by Paul Jackson is moody and atmospheric. The moment the first note is played with the opening song, the ensemble moves together as one. They are all dynamic! The musical arrangements by Steve Skinner and the choreography by Bree Tipoki are beautifully fluid. It is a large ensemble and there are so many moving characters singing and dancing, all with perfect sharp dance angles and flashes of energy. For anyone who has never seen Rent before, or for fans who know that “525,600 minutes … a year in the life of friends”, this is going to be one fantastic musical not to be missed this Spring inside the Sydney Opera House.

Season run: September 30 – November 1 2025
Run Time: 2 hours and 35 minutes including interval
Tickets: www.opera.org.au/productions/rent-sydney

To book tickets to Rent, please visit https://opera.org.au/productions/rent-sydney/.

Photographer: Neil Bennett

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The Art of Violin

The Art of Violin

The Art of Violin Rating

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The Sydney Opera House is always a breathtaking setting for live performance, but tonight’s concert in the intimate Utzon Room was something truly special. Making their debut in this iconic venue, Bach Akademie Australia delivered a spellbinding program that not only showcased the ensemble’s exceptional musicianship but also celebrated the rich legacy of the violin concerto.

Close your eyes, and you could almost believe you’d been swept back to the golden age of the violin. Picture yourself in late 17th-century Italy: candlelit salons, the gentle hum of anticipation, and the first brilliant notes of a new form capturing the public’s imagination—the violin concerto. With master luthiers like Stradivari perfecting the instrument’s design, and composers elevating it to virtuosic heights, the violin became the soul of the Baroque era. It sang with fire and finesse, captivating audiences and rivalling even the grandeur of opera in popularity.

Tonight, under the inspired direction of Artistic Director Madeleine Easton, that golden age was vividly reborn with clarity and passion by Bach Akademie Australia under the artistic direction of Madeleine Easton. Her insightful commentary guided the audience through the historical and musical evolution of the violin, framing each work with warmth and erudition. What followed was a program of extraordinary variety and cohesion, featuring works by Vivaldi, Leclair, Handel, Telemann, and Bach.

 

 

The ensemble performed with remarkable finesse and stylistic authenticity. The blend of violin, viola, cello, double bass, theorbo, and harpsichord created a rich and resonant Baroque sound world that felt both timeless and immediate. Each piece was delivered with a sense of joy and reverence, perfectly suited to the acoustics and intimacy of the Utzon Room.

Three violin soloists took turns at centre stage, each offering a unique voice. Rafael Font’s interpretation of Leclair’s Violin Concerto in D minor, Op. 7 No. 1 was luminous—technically agile and emotionally captivating, while Simone Slattery brought a poetic intensity to Telemann’s Violin Concerto in A minor, TWV 51:a1, illuminating its lyrical elegance and rhythmic drive.

As evening fell over Sydney Harbour, the music seemed to shimmer in response. Bach Akademie Australia did more than perform—they conjured a world, an era, and a spirit. The Art of Violin was not only a triumph of musicianship but a moving tribute to the enduring beauty of the instrument.

To book tickets to The Art of Violin, please visit https://www.bachakademieaustralia.com.au/events/the-art-of-violin-concert-1.

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YENTL

Yentl

Yentl Rating

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The Kadimah Yiddish Theatre has done something extraordinary with their story of Yentl – now showing at the Playhouse at the Sydney Opera House: they have reclaimed Isaac Bashevis Singer’s original story and made it sing in a way that the 1983 musical adaptation could not.

I came into the show with high expectations. When I discovered Singer’s short stories as a teenager, they were revelatory for me. His folk tales, full of customs and characters I didn’t know, were yet more real to me than the Anderson and Grimm tales I’d grown up with. All the demons and sprites in Singer’s stories are simply people with desires and faults driven to extremes. His fairy tales reveal human nature.

It is that spirit that this production captures. Stepping into the world of Yentl is to enter a fairy tale realm. The ground is covered in dirt, rocks and grass, a kind of haunted forest. Everything is just slightly exaggerated, including the actors with their white pantomime makeup. This is not a real world; it is beyond the real, ultra real, super real. And by adhering closely to Singer’s story, published in 1962 and set in 1873, it is also profoundly modern.

 

Yentl is a young woman who wants to study and yearns for all the benefits that men have. After the death of her father, she takes on a male name – Anshl – and garb, and goes to study at a yeshiva, on the way meeting the melancholic Avigdor who will become her best friend and study partner. As Avigdor pines for Hodes, his betrothed bride whose family rejected him, he suggests that Anshl marry her instead. What could possibly go wrong? Especially as the spark between the two young men feels like it could be something more than friendship.

Amy Hack does a superb job of playing both Yentl and Anshl. She captures Anshl’s eagerness and excitement to be in the world of men, despite being woefully ignorant of men themselves. Her assumed boyishness gradually transforms into something else – something more powerful as Yentl finally realises what she can and can’t have. Nicholas Jaquinot and Genevieve Kingsford are also excellent as Avigdor and Hodes respectively, characters that could easily be one-dimensional but which they both give great depth to.

An interesting addition to the story is Evelyn Krape’s Figure, or yeytser ho’re, who is witch, fairy, joker and conscience all rolled into one. She propels both Yentl and the narrative forward with an unrelenting energy.

Whether on purpose or not, I found that the Figure the queerest character in a cast full of very queer characters. She captures the torment and joy that being queer often feels like – especially in times or places of repression. And let’s face it: everyone in Yentl is a bit queer. Anshl doesn’t want to be a wife, but is fine with being a husband, and you suspect he even quite likes it. Avigdor, for all his loud proclaiming of how much he loves the female form, is definitely more than a little in love with his (male) friend. And Hodes, sweet Hodes, virtuous Hodes, loves that Anshl doesn’t smell or act like the other boys she’s met.

 

What I particularly loved about this adaptation is that it doesn’t shy away from Yentl’s complicated desires. It is not only that she wants what men have – books and a wife – but she also rejects the feminine. She doesn’t want to be a wife, she doesn’t want to cook someone else’s bread, she doesn’t want to give up her life. And yet she desires both Avigdor and Hodes, and wants to be both male and female. If god created Eve from Adam, then Adam was already both male and female. And if Adam was created in god’s form, then that means god is also both male and female. Mic drop.

In the final part of the show, when Yentl rejects her shame, takes off her male garb and binds her tefillin, it is a beautiful act of defiance. I don’t have to choose, she indicates. This is my body and this is who I am.

You’re damn right, Yentl.

YENTL runs until the 10th November. Book your tickets for one of the remaining performances @ https://www.monstroustheatre.com.au/current-projects/yentl

    Tuesday 22 October 2024 6:00pm^
    Wednesday 23 October 2024 7:15pm
    Thursday 24 October 2024 7:15pm
    Friday 25 October 2024 7:15pm
    Saturday 26 October 2024 1:30pm
    Saturday 26 October 2024 7:15pm
    Sunday 27 October 2024 3:00pm
    Tuesday 29 October 2024 6:00pm
    Wednesday 30 October 2024 7:15pm
    Thursday 31 October 2024 7:15pm
    Friday 1 November 2024 7:15pm
    Saturday 2 November 2024 1:30pm
    Saturday 2 November 2024 7:15pm
    Sunday 3 November 2024 3:00pm
    Tuesday 5 November 2024 6:00pm
    Wednesday 6 November 2024 1:30pm
    Wednesday 6 November 2024 7:15pm
    Thursday 7 November 2024 7:15pm

    Photographer: Jeff Busby

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