'Rent' weaves a 'tapestry of music and story' at The Sarasota Players

Jonathan Larson’s musical “Rent” (1996) is a post-punk, neo-bohemian time capsule of the East Village alternative scene in the late 1980s and early ‘90s. Larson blithely swiped plot and characters from Puccini’s “La Bohème.” He shifted centuries and swapped New York City for Paris and substituted AIDS for tuberculosis. A crazy idea, but it worked — and countless theatergoers fell in love with the show. Brian Finnerty is one of them. He’s directing The Sarasota Players’ current production. In the following talk, he shares why “Rent” is as timely as ever in 2025.

When did you first encounter this musical?

I saw it on Broadway. I was young, so I didn’t see the original cast. But I fell in love with it. After that, I saw the movie and multiple college and community productions. “Rent” made a huge impact on me. It put the spotlight on marginalized outsiders. The lead wasn’t a straight white man: Angel’s a queer, nonbinary Latina. And there were Black leads, lesbian leads, men kissing on stage. You’d never see that on “Friends.” That’s what I loved about “Rent.” And still do.

Have you directed “Rent” before now?


No, but I’ve always wanted to. “Rent” is loud, rebellious and fun, and the music is fantastic. It’s a great musical. But I wouldn’t call it perfect. I fell in love with it as a kid. As an adult, I see flaws in the writing. I think, “Oh, this could be cut,” or “Maybe this song shouldn’t be 12 minutes long?”

How do you explain the flaws? What went wrong?

A fatal heart attack. Larson passed before the Broadway opening. “Rent” was still a work in progress. But the show had to go on, so it skipped much of the workshop stage. The development process was cut short.

Like taking a cake out of the oven too soon. “Rent” wasn’t done yet. That’s why it’s flawed.

Sure. But the flaws are part of its magic. As a director, it’s fun to work with an imperfect show. “Rent” is raw and different, not polished and formulaic. That makes it feel real. That’s why it still feels topical today.

Are the characters all artists?


Most of them. Mark’s a filmmaker. Roger’s a songwriter. Maureen is a performance artist doing protest art — she’s wilder. Joanne isn’t an artist — she’s a lawyer and Maureen’s love interest. She’s strait-laced at first but blends in with the group. Collins is a professor. Benny’s the landlord. He wants his penniless, starving-artist friends to pay the rent. That makes him the bad guy.

What’s your take on the music?

I love it. And we’re doing it right. That means a live band pumping through the sound system. No recordings. Real musicians — and that’s what “Rent" deserves. I really love this musical. But Larson’s score is a wild beast. It’s very, very tricky to play. Not just the raw energy — it’s technically demanding.

The rhythms bounce around like Sondheim; key signatures change three times in a song. You can’t just “feel” it — you’ve got to be a musician to keep up. Luckily, our cast is full of great musicians and vocalists. William Coleman’s our music director, and he’s wonderful. And the band’s outstanding.

Our percussionist is incredible. He keeps the band together — and that’s critical. The score is a marathon. If anybody misses a beat, the whole thing unravels. But having killer band isn’t enough. “Rent” isn’t a concert — it’s a tapestry of music and story. That’s a higher level of difficulty. It’s scary, but that’s why it’s good.

You’re not just directing “Rent”; you’re the set designer. The Players’ space is pretty intimate. You can’t go big like Broadway. What do you do?

We make you feel like you’re in this world. Our production design is gritty and realistic. Every detail matters — props, costumes, labels. We blew the roof off with posters and eviction notices on the walls. Our staging is theater-in-the-round. Characters come in and out of the audience and storm in from all sides. So, there’s no fourth wall, no separation, no place to hide.

I tell the cast: “Invite people in, let them be part of the story. Don’t look above them like in a proscenium house. Our furthest seat is five rows back. The audience can see every facial expression. You’re exposed. Just go with it.”

A critic once described the “Rent” ensemble as a “living organism.” That sounds like a “Star Trek” episode. Seriously, how’d you get the cast on the same page?

I got really lucky. About half the cast never performed with us before. But from the first rehearsal, they instantly connected. And they’ve all been supportive and kind. That reads on stage. The entire cast starts the show together. Their lives fall apart in the second act. But they stay together and support each other through heavy stuff.

Is “Rent” still relevant in 2025?

Definitely. It holds up a funhouse mirror to the world of today. Insiders at the top enjoy the good life. “Rent” is the story of bohemian outsiders at the bottom. They’re just too different, so they’re marginalized, excluded and erased. That’s very relatable in a time when many voices are being silenced. 

What should you do when that happens? “Rent” says outsiders need to come together. Community and chosen family are very big themes in the show. It’s all about building a community of people who support and accept each other. That’s timeless.