“Rent’s” legacy is inseparable from the fight against HIV/AIDS.
The musical describes a time when an AIDS diagnosis was a death sentence, and the show conveys the climate of fear, depression and despair felt by those infected with the virus – such as Roger, an aspiring musician played by Florida Southern College sophomore Tyler Scott.
Roger Davis is sad, despondent and obsessed – with leaving a permanent mark before he’s gone – as we learn in “One Song Glory.”
Find glory in a song that reigns true
Truth like a blazing fire
An eternal flame
Find one song
A song about love
Glory
From the soul of a young man
A young man
Find the one song before the virus takes hold
Glory
Like a sunset
One song
To redeem this empty life
“When you first see him, he's just kind of, he's just kind of down,” said Scott. “He doesn't want to do anything. Just depressed. And then you kind of see into his character on why he feels that way. And being able to portray the emotion through the songs and acting and the dancing, like, that's one of my biggest goals.”
Roger’s next door neighbor is Mimi Marquez, played by FGCU sophomore Jay Encalada. She, too, is HIV positive. And she positively wants to be with Roger. But he’s still filled with guilt and self-loathing over the death of his previous girlfriend. So Roger spurns Mimi’s initial overtures in the duet “Another Day.”
I can't control (Control your temper)
My destiny (She doesn’t see)
I trust my soul (Who says that there’s a soul)
My only goal
Is just to be (Just let me be)
There's only now (Who do you think you are)
There's only here
Give in to love (Barging in on me)
Or live in fear (And my guitar)
No other past (Little girl hey)
No other way (The door is that way)
“It shows the rejection and how I'm mad, but also I'm trying to make him understand that I want him in more than a romantic way … more of a friend than a romantic way, so that's definitely my favorite song, and also it just sounds really good.”
One reason it sounds so good is because of the onstage history she shares with Scott.
“Doing a duet with someone, you have to not only feel the connection of whatever you're saying and you're dancing with the person, but it just takes such an emotional toll on you,” Encalada noted. “Singing with another person you have to blend with them in a certain way, Working with Tyler's great. He's perfect. I've played love interests with him many times, so I think we have a little connection there.”
Florida Southern College sophomore D’Adrian St. Louis plays Tom Collins, a ray of sunshine that pierces the play’s storm clouds — expressed in the song “Sante Fe.”
All this misery pays no salary, so
Let's open up a restaurant in Santa Fe
Oh, sunny Santa Fe would be nice
Let's open up a restaurant in Santa Fe
And leave this to the roaches and mice
“I just love the number so much because it gives you a sense of hope, especially in the dark time that they were going through,” said St. Louis. “You know, they found a glimmer of hope and they had a dream and they're just having fun and they're singing about it despite everything going on around them.”
St. Louis relished the role of Tom Collins for another reason.
“He's resilient, he's brave, and he's determined, no matter what the world around him thinks, and I just think that's something really beautiful and I think that's something that we can apply to our world now,” St. Louis explained. “As much stuff that's going on around us, we still have to stay resilient and brave and strong because at the end of the day, everybody's different, and we shouldn't be ashamed of that.”
Hannah Cruz, who plays Maureen, voices a similar sentiment.
“The meaning of the story is more like just being yourself, not being afraid to express who you are, who you love,” said Cruz. “This show is really just about being true to yourself, not being afraid to stand up for what you believe in.”
People familiar with “Rent” associate the character of Maureen with her “Take Me or Leave Me” duet with Joanne Jefferson. But Cruz was surprised that her raucous solo, “Over the Moon,” became her personal favorite.
Only thing to do, only thing to is jump (Leap of faith, leap of faith, leap of faith, leap of faith)
Only thing to do is jump over the moon (Leap of faith, leap of faith, leap of faith, leap of faith)
Only thing to do is jump over the moon (Leap of faith, leap of faith, leap of faith, leap of faith)
Over the moon (Leap of faith, leap of faith)
Over the moo (Leap of faith, leap of faith)
Moo
MOO
Moo with me
Moo
Come on sir, mooo mooo mooo mooo mooo
MOOO
“I'm saying things that don't really make sense, that sound dumb, but have an underlying, deep meaning,” Cruz explained. “So, it really is a metaphor. So, I think taking that, things that sound gibberish, that don't make any sense and then having to perform it as if there's a deep, deep meaning, I think that was really challenging …. Also, just putting myself out there and having to moo like a cow in front of all of my friends, it was very weird at first.”
Under the direction of Artistic Director Carmen Crussard, Director Miguel Cintron and Choreographer Kiana Raine Cintron, this ensemble cast of high school and college students is, in a word, outstanding.
Performances are Thursday, June 25 at 7:30 p.m.; Friday, June 26 at 7:30 p.m.; Saturday, June 27 at 2 p.m. and 7:30 p.m.; and Sunday, June 28 at 2 p.m.
For tickets, visit artinlee.org or telephone 239-939-2787.
MORE INFORMATION:
“Rent” is loosely based on Puccini’s “La Boheme,” but with electric guitars supplanting woodwinds and HIV/AIDS taking the place of tuberculosis.
The storyline follows a year in the life of a group of impoverished young artists and musicians struggling to live creatively under the shadow of HIV/AIDS in New York’s Lower East Side. The physical and emotional complications of the disease pervade the lives of Roger, Mimi, Tom and Angel. Maureen deals with her chronic infidelity through performance art; her partner, Joanne, wonders if their relationship is worth the trouble. Benny has sold out his Bohemian ideals in exchange for a hefty income and is on the outs with his former friends. Mark, an aspiring filmmaker, feels like an outsider to life in general. How these young bohemians negotiate their dreams, loves and conflicts provides the narrative thread to this groundbreaking musical.
The musical would have never happened without Stephen Sondheim. At his suggestion, Jonathan Larson applied for and received a Richard Rodgers Development Award. He used the $45,000 prize to help finance a two-week workshop of the musical. Jeffrey Seller and Kevin McCollum, two up-and-coming producers, were in the audience. Based on the strength of the workshop presentation, the two agreed to partner with the New York Theater Workshop to stage a full production the following year.
The musical originally premiered at New York Theatre Workshop on Jan. 25, 1996. It transferred to Broadway's Nederlander on April 29, 1996. It was one of those rare shows that transcended Broadway success to become a cultural touchstone. In the process, it changed the industry by permeating the mainstream zeitgeist and infusing Broadway with sweet rock ‘n roll.
The Broadway run continued for 12 years and 5,123 performances, closing Sept. 7, 2008.
The Broadway production of "Rent" grossed over $280 million.
The cast album became a double multi-platinum record, with U.S. sales alone exceeding 2 million units.
The musical has spawned countless national tours, regional and international stagings, a big-screen movie adaptation featuring most of the original stage cast, and a live TV production.
“Rent” received both an Emmy and Pulitzer Prize.
Since 1918, only eight musicals have been awarded the Pulitzer Prize for Drama. Other winners include “Of Thee I Sing” (1932), “Fiorello!” (1960), “How to Succeed in Business without Really Trying” (1962), “Sunday in the Park with George” (1985) and “Next to Normal” (2010).
Larson provided a voice to marginalized communities and reminded us all of the power of compassion, care, and showing up for one another.
A special concert performance celebrating the musical’s 30th anniversary is planned for Oct. 26 in the Richard Rodgers Theatre.
The original director, Michael Greif, will direct the event, which will feature members of the musical's original cast joined by guest performers.
The creative team
Artistic Director: Carmen Crussard
Director: Miguel Cintron
Choreographer: Kiana Raine Cintron
Music Director: Gary Stroh
The local cast
Mark Cohen: William Urban
Rodger: Tyler Scott
Mimi Marquez: Jay Encalada
Tom Collins: D’Adrian St. Louis
Angel: Gabe Cruz
Maureen: Hannah Cruz
Joanne: Isa Oren
Benny Deangelo Arnold
Gordon: Reagan Fournier
Mark’s Mom: Delilah Mendez
Rodger’s Mom: Ollie Anderson
Mr. Grey/Pastor: Tristan Michael
Drug Dealer: Taylor Barbara
Coat Vendor: Justice Williams
Waiter/Police Officer: Reagan Strachan
Alexie Darling/Vendor: Samantha Boddicker
Homeless People: Alex Bates, Mardin Liberal, Delilah Mendez, Sisi Ortiz
Ensemble: Taylor Barbaro, Alex Bates, Reagan Fournier, Victor Galarza, Genevieve Haas, Karrington Kennelly, Mardin Liberal, Tristan Michael, Sisi Ortiz and Justice Williams
Jonathan Larson
Jonathan Larson was the musical’s creator.
He was a "starving artist," living the bohemian life for several years, when his friend and fellow struggling playwright, Billy Aronson, suggested they collaborate on a contemporary American version of Puccini's “La Boheme.”
It was 1989 and Larson immediately saw the possibility of exploring HIV/AIDS, homelessness, sexuality and the struggle for art in an East Village setting.
He envisioned writing a "Hair for the '90s" that could "bring musical theater to the MTV generation."
Aronson and Larson wrote several early drafts of the title song, as well as "Santa Fe" and "I Should Tell You."
Eventually, the two parted ways amicably, and Larson continued to develop the show on his own.
Larson died suddenly two hours before the show’s final dress rehearsal and the night before the musical was scheduled to give the first preview performance at NYTW.
He died at age 35 from an aortic dissection thought to be the result of undiagnosed Marfan syndrome.
Rent & HIV/AIDS
The musical’s legacy is inextricably intertwined with the fight against HIV/AIDS.
Its focus on the AIDS epidemic was an important factor in the Pulitzer jury’s decision to award Larson the Pulitzer Prize for Drama.
What’s astonishing is that Larson wrote “Rent” prior to the development of Highly Active Antiretroviral Therapy, which transformed HIV from a death sentence into a manageable chronic condition.
In the 30 years since the show premiered, advances in HIV treatment—including long‑acting injectables—have transformed what’s possible, but the epidemic is far from over.
Sadly, “Rent” remains relevant in today’s political climate.
Even though Florida lawmakers have passed a $75 million plan to restore HIV medication access, there remains the specter that Governor Ron DeSantis could veto that funding. Even if he doesn’t, the measure covers only the upcoming fiscal year. Without this money, more than 10,000 Floridians will lose access to life-saving HIV medication because Congress didn’t extend the Affordable Care Act tax credits last fall.
UNAIDS warns that an additional 6 million new HIV infections and 4 million AIDS-related deaths could occur between 2025 and 2029 as a result of the dissolution of USAID and the U.S. President’s Emergency Plan for AIDS Relief or PEPFAR. So for too many people, an HIV/AIDS diagnosis is potentially still a death sentence.
Songs
Act 1
- Tune Up 1
- Voice Mail 1
- Tune Up 2
- Rent
- You Okay Honey?
- Tune Up 3
- One Song Glory
- Light My Candle
- Voice Mail 2
- Today 4 U
- You'll See
- Tango: Maureen
- Life Support
- Out Tonight
- Another Day
- Will I?
- On The Street
- Santa Fe
- I'll Cover You
- We're Okay
- Christmas Bells
- Over The Moon
- La Vie Boheme
- I Should Tell You
- La Vie Boheme B
Act 2
- Seasons Of Love
- Happy New Year
- Voice Mail 3
- Happy New Year B
- Take Me Or Leave Me
- Seasons Of Love B
- Without You
- Voice Mail 4
- Contact
- I'll Cover You (Reprise)
- Halloween
- Goodbye Love
- What You Own
- Voice Mail 5
- Finale A
- Your Eyes
- Finale B
Support for WGCU’s arts & culture reporting comes from the Estate of Myra Janco Daniels, the Charles M. and Joan R. Taylor Foundation, and Naomi Bloom in loving memory of her husband, Ron Wallace.
