You need to rent a 70-200mm f/2.8. You also need a 2nd body as a backup system. You've got enough lenses. You could technically shot the entire wedding with just the 35mm on a crop-frame body (but don't). That means you're covered in case a key lens fails, but you're not covered in case the body fails. Also make sure you have enough memory card capacity and battery capacity.
Once upon a time, the popular rig was a medium format film camera (Hasselblad, Rollei, etc.) with a single "normal" lens (80mm is the "normal" focal length for those cameras) and about 30 rolls of film (average wedding used about 23 rolls and I think the most we went through was probably about 28 rolls, but we always had 30 rolls on-hand. We would finish a wedding having taken some 250-300 shots. In the age of digital, photographers shoot a LOT MORE.) You can shoot an entire wedding with that and get stunning results... but you do have to know how to get each shot and that means no close-ups of the ceremony "during" the ceremony (lots of photographers re-created key shots after the ceremony was over.)
To get those shots "during" the ceremony, you'll need a long fast lens. That's the 70-200mm f/2.8. No substitute lens will do. It must be f/2.8 (since there's no such thing as a zoom faster than f/2.8). No variable focal ratio zooms. The one time during the day where you'll need a long lens is also the one time of the day where you're probably be inside a church with low light and are not permitted to use the flash (no flash "during" the ceremony... but you can use it any other time including walking up the aisle and back down again.) BTW, you can walk around, but you can't get in the way. That means you're generally shooting from the sides.
You will want a powerful flash. Actually... you'll want two of them. What you really want is two flashes AND time to get experienced when using two flashes (2nd flash is on a monopod being held by an assistant who also knows what he/she is doing.) That might be more than you can manage.
You'll use the flash outdoors to soften the harsh shadows. A camera can make bright light seem dim by reducing aperture or speeding the shutter. So it's not the "bright light" that's the problem. It's the fact that the extra bright full sun is creating extra dark shadows.... there's too much difference between light and shadow. The purpose of the flash is to light up the shadows making the difference from light to shadow small... rather than large. This takes practice. Buying or renting a flash and having it arrive a few days before the wedding is probably not adequate time to prepare.
Though you're not a wedding photographer, you obviously have a camera and some experience using it (possibly even considerable experience.) But there are some things that a wedding photographer probably knows that you don't know ... no matter how long you've owned a camera:
1) They know the repertoire of shots... they have a shot list. Without really thinking about it, there are certain key shots they plan to take before the wedding, during the wedding, and immediately after the wedding. They have a similar list they plan to take at the reception and all the events that happen at receptions. They may also plan to steal the bride & groom away for a 15 minute session sometime during the reception depending on the reception facility - and they'll do a short photo-shoot. They have specific shots for this as well. Keep in mind that sometimes you are in control of setting up the shot and sometimes the events occur as part of the ceremony and you can't control the situation. THAT MEANS YOU need to know where to stand so you're in the best position to get these events as they unfold. So before the wedding, you know, for example, will the couple have their backs to the audience or will they be facing them? Will they be lighting a unity candle? You want to know what key events will occur and have already thought through where you'll need to be and how you'll capture the shot.
2) It isn't just that they have a shot list... it's that when they take each shot, they pretty much know how they plan to shoot each shot. I knew, for example, that when shooting any of the key dance shots that I was going to use my two (manual) flashes, f/16, and I'd frame the shot from the waist up. I'd use zone focus, and I'd nail the shot every time. A wedding photographer knows this without even really thinking about it. The camera is actually pre-set for the shot before the photographer even walks onto the dance floor. When you've taken thousands of dance shots, you know "the" settings that work consistently. Think of the wedding as a "pattern". You apply a specific pattern to each type of shot, but then tailor it to the situation as needed.
3) A wedding photographer is spending their day primarily taking portraits and environmental portraits. Except they don't have a portrait studio with them. They know how to create studio lighting without actually having studio lighting. This means they carry some reflectors and probably some shoot-through umbrellas to use with the flash guns. We never carried studio mono-lights. We DID carry a tripod (always) ... and a light meter... and several other pieces of gear. But as we knew the repertoire it wasn't as if we were scrambling to get the right gear for each shot... we knew what part of the wedding was coming next, what gear would be needed for it, where it would need to be, so while the photographer is shooting one thing, the assistant is setting up the next thing. Everything is nicely orchestrated.
4) For most of the wedding, when you know the shots and the flow, you wont be scrambling. Changing lenses wont be "reactive" it will be "proactive" (you know what's coming so you're ready.) Just occasionally you will get a surprise. Interestingly... each religious belief or sect has a different way of doing weddings. There were certain religions (I wont which say which) that we used to call "90 second specials". The bride & groom would make it to the altar, the "I-DOs" would happen, and they'd be "now pronounced man and wife" and the next thing you know they're headed back out (while you were just getting set up in the choir loft for some nice ceremony shots with a long lens.) SO... you DO want to know what the flow of THEIR specific wedding will be, how long they expect it to take, so you know if you have time to head up to the choir loft or not.
5) Consider this: Little girls fantasize about their wedding day even at very young ages. Little boys ... not so much. This day is something of a fairy tale to HER. She wants the photos to portray that day in a way that meets her fantasy expectations. She wants her wedding to look like it belongs in Brides magazine (hint: pick up a copy of Brides magazine and thumb through it if you've never done this.) It seems every wedding I attend (as a guest), the bride is upset when she ultimately gets her photos. The last two weddings I attended had photographers who neglected to get even a single GOOD shot of the bride wearing a dress (how do you shoot hundreds of photos and not get one great shot of a dress that the bride was wearing the entire day?) She agonized over that dress and you @#$@#$ well better get a stunning shot of it. There's a "psychology" of weddings that experienced wedding photographers know. They know what the bride expects.
I've hopefully given you some things to think about. If you don't have a half-dozen weddings behind you then you can't just "know" how to shoot a wedding. This is why I generally recommend that anyone who wants to learn to shoot weddings should put the camera DOWN and go offer their services to an experienced wedding photographer looking for an assistant. It's amazing what you can learn by just being with someone who is seasoned at shooting weddings.
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