If you love American musicals, you know Jonathan Larson, you know Rent, and chances are, you’ve been eagerly waiting for this show to hit the stage—months, maybe even years.
If you haven't, no worries—this door is wide open, and trust me, you’ll find it just as marvelous as I did.
Imagine a musical that blends rock, bohemia, and the chaotic, raw beauty of 
90s New York City. It’s like the coolest friend you always wanted—edgy, heartfelt, a little messy, but in the best way. Think love, art, modern bohemia, and friendship, all set against the backdrop of economic struggle and the AIDS epidemic. Oh, and it’s loosely based on Puccini’s La Bohème. Is that good material for a legend? There's more! The creative genius behind it all is Jonathan Larson, whose obsession with music and social issues turned into something truly electric. Tragically, Larson passed away unexpectedly at age 35, just the night before the first preview. Heartbreaking? Absolutely. But his legacy? Unstoppable.
Rent is a LEGEND, and it’s currently lighting up Krakow (seriously, could there be a better town for modern La Bohème?). What they've done with this show is powerful, and it fully honors its legendary status. Watching it feels like stepping into a costume party (I recently saw La Vie Bohème in Warsaw, and that felt much closer to real life). It’s not our story, it’s not our time, yet somehow, you feel like you’re right there—or you wish you were.
The cast is like a high-energy circus—each performer brings their own daring act. They perform like they’ve got nothing to lose—like walking on hot coals, juggling flaming knives, and taming a lion, and still looking fabulous while doing it.
I loved the love story between Angel (Jakub Szyperski) and Tom (Patryk Bartoszewicz)—I can’t even remember the last time I was moved by a death scene like that. It felt like someone was crushing my heart with a glitter-covered fist. Then there’s Natalia Kujawa as Maureen—she’s like a rocket without a safety cap—explosive, uncontainable, and shooting straight into orbit without slowing down. Sabina Karwala, as Joanne, is so mesmerizing, she’ll make you want to do something bad just to have her defend you—she’s like a sassy knife that can sing! Bartosz Lyczek is very energetic yet effortlessly charming—like a hurricane in a tuxedo!
There’s power. There’s vulnerability. This universe, shaped by director Jakub Wocial, is pure, strong, and so needed! (Fun fact: He was in the previous production of Rent years ago in Warsaw, and he cast himself in this version as Roger, too.) The group scenes, thanks to the ultra-difficult but perfectly executed choreography of Santiago Bello, are mesmerizing. The scenography by Marta Mojnowska is a time machine, transporting us to a different place and time. The costumes by Dorota Sabak-Ciolkosz make us feel like we’re in a period drama, though they do seem a little too pristine for the bohemian, I-cannot-afford-a-rent vibe.
We can’t fully relate to New York’s world back then, given our political situation in the 90s, but the energy on stage hits hard and stays with you long after the curtain falls.
Photo: Lukasz Popielarczyk / Krakowski Teatr VARIETE
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