Artyfax Creative

Artyfax Creative

RENT: Now and Forever

(Continued)

Copyright 2010 Artyfax Creative

The contemporary, tragic Rudolfo (Roger) and Mimi, from the spectacle inspired by Puccini's Bohemian masterpiece.

absurd idea: What if someone took the basic plot of the celebrated Giacomo Puccini opera, La Bohème, and updated it to a modern, hip new audience?


About a year later, Aronson started putting out calls for collaborators. It wasn’t long before a good friend, new project developer extraordinaire Ira Weitzman, introduced him to an ambitious, relatively obscure young composer with somewhat wild eyes and an even wilder hairdo. That young composer’s name was Jonathan Larson. Incredibly, the young Mr. Larson had lived a “Bohemian life” himself in the legendary hipster area of New York City called Soho – and he at first suggested, and eventually ended up pleading, with Billy Aronson to allow him to use the original La Bohème concept and truly make it his semi-autobiographical Magnum Opus.


Billy Aronson agreed to step aside from the collaboration – but with the agreement that if the project ever actually did make it to the “Big Stage”, in any of the gargantuan New York Theatre wing’s legendary venues, they would equally share in the spoils of their success.

   

Anthony Rapp and Adam Pascal,

still performing RENT

superbly and flawlessly.

the Workshop’s Studio Theatre system. For the next three years, Jonathan Larson and his production team cajoled, nurtured, beat, kicked and hammered out a modern take on Puccini’s masterpiece. Their efforts were finally rewarded with an agreement to produce “the new Bohemian musical” through the renowned Nederlander Group.

Little did anyone know that the twisted little musical – rife with open references to latex, cross-dressing, sadomasochism and (sadly) the scourge of the late last millennium: AIDS – would run for over twelve years and become the seventh longest-running show in Broadway history.

Speaking of tragedy, the show’s wonder kid composer, Jonathan Larson, was destined to never see a single Broadway performance of his magnificent show. Just before what would have surely been the most exciting time of his short life, Mr. Larson was making a tea in his modest kitchen at 3:00 am in the morning when he suddenly collapsed. He never regained consciousness, and died, early in the morning on a cold kitchen floor, on January 26th, 1996 – the very evening of the first preview performance of his musical. Jonathan Larson     

Nothing is guaranteed in the world of live theatre, and especially so when any discussion of Musicals begin in earnest. Four years later, the work originated at the New York Theatre Workshop as a piece of Reader’s Theatre. From the initial read-through, the quirky, kinky little project had a limited three week run within 

(Toronto, Canada) - In 1988, noted playwright Billy Aronson had an