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Search all monologues from plays. Search all monologues. Scenes from Plays. Search all scenes from plays. By Of Characters. Two Person Three Person. Mimi, Mark, and Roger's building has been padlocked because of Maureen's protest.
Mimi optimistically makes a New Year's resolution to give up her heroin addiction and go back to school. Joanne and Maureen decide to try for a relationship again, and all the couples are happy together. Mark, Maureen, and Joanne scale the fire escape and break in through a window, while the others use Angel's blowtorch to break down the door "Happy New Year A".
Alexi Darling of "Buzzline," a tabloid newsmagazine , had seen Mark's footage of the riot and has left a message on Mark's answering machine offering him a contract "Voice Mail 3". All the friends enter the apartment celebrating the new year, but Benny shows up prematurely ending the festivities.
Benny asks Mark to film him offering a rent-free contract, but the friends accuse him of trying to get good press. Incensed, Benny maliciously implies that Mimi showed up at his place and "convinced" him to rethink the financial situation, while Mimi denies everything. Roger becomes extremely upset and renounces their relationship, but Angel convinces everyone to calm down and make a New Year's resolution to always remain friends. In the spring as everything deteriorates, the cast poses the question, "How do you measure a last year on earth?
Mimi comes home late again after secretly buying drugs, causing Roger to believe that she is cheating on him with Benny. Roger jealously storms out, and Mimi sings about life without him.
All the while, Angel's health suffers and Collins tries to nurse him back to health. All the couples reconcile because they realize the emptiness in living alone "Without You". Alexi keeps calling Mark to try to convince him to join Buzzline "Voice Mail 4". The scene turns to a bed containing all the couples, with the implication that they are all having sex , which quickly transforms into a frustrating and awkward situation for all of them.
However, for Collins and Angel, the bed is both a place for sexual contact and a place where Angel, embodied in a release of sexual and bodily energy, dies from AIDS. Collins is heartbroken, and at Angel's funeral, he declares his undying love. The others take part in the funeral, mourning the loss of such a close friend "I'll Cover You Reprise ". Mark expresses his fear of being the only one left surviving when the rest of his friends die of AIDS, and finally accepts Alexi's job offer "Halloween".
Everyone leaves the funeral, and Roger reveals that he is leaving New York for Santa Fe , which sparks an argument about commitment between both couples, with Mark and Benny desperately trying to restore calm. Maureen and Joanne make up again, but Mimi leaves with Benny after Roger shuns her. When Roger prepares to leave, he gets into a fight with Mark: Roger accuses Mark of living a fake life by hiding in his work, and Mark accuses Roger of running away because he is afraid of watching Mimi die.
When Roger leaves the apartment, he is horrified to find a clearly weak Mimi, who had come to say goodbye, standing outside the door. He realizes that she overheard everything. She is visibly shaken and bids Roger a tearful goodbye, as Roger runs away determined to find his song. Finding a distraught Mimi, Mark suggests that she enroll at a rehabilitation clinic, which Benny offers to pay for "Goodbye Love".
They both suddenly have an artistic epiphany , as Roger finally finds his song in Mimi and Mark finds his film in Angel's memory. Roger returns to New York just in time for Christmas and Mark quits Buzzline to work on his own film. Mark is preparing to show his finished documentary. Roger is ecstatic about finding his song. No one, however, has been able to find Mimi. Suddenly, Maureen and Joanne arrive, calling for help. They bring in Mimi, who is sick and delirious from living on the streets in the dead of winter.
Roger is frantic and Collins calls but is put on hold. Mimi and Roger finally clear up their misunderstandings, and Mimi tells Roger that she loves him "Finale A". Knowing that time is short, Roger asks Mimi to listen to the song that he had been working on all year that was inspired by her "Your Eyes'.
He shortly reprises the beginning of "Another Day" by saying "Who do you think you are? As he finishes his song to Mimi and finally tells her that he has always loved her, they kiss.
Mimi goes limp and Roger, in tears, believes her to be dead. Suddenly Mimi comes back to life, saying that she was heading into a warm, white light and that Angel was there, telling her to turn back and listen to Roger's song.
She and Roger embrace, and everyone is touched and relieved as they are reminded of the fleetingness of life and reaffirm that there is "no day but today" "Finale B".
Then Mark plays the Documentary he has been working on. There have been three very successful United States national tours. More recently, the non- Equity tour started its run. There was also a Canadian tour often referred to as the "Collins Tour". The Angel tour began in November in Boston. It then went on to St. The Benny tour generally played shorter stops and often smaller markets than the Angel Tour did. In addition to the Broadway production and North American tours, Rent has been performed around the world.
Sondheim thought highly of Larson's ability to create narratives through song, but wasn't shy about his doubts that pop and Broadway could successfully mix. Shortly before Rent opened, he told the New York Times that Larson was "attempting to blend contemporary pop music with theater music, which doesn't work very well.
Sondheim further added that Larson "was on his way to finding a real synthesis," implying that Rent didn't quite hit the mark. That's perhaps best embodied by "Your Eyes," the song Roger writes and performs for Mimi that's supposed to bring him glory, and her back to life, at the end of the musical — but one of Rent 's flattest songs by far.
And when you look back at Rent 's legacy, it becomes clear that the musical's best and most enduring numbers — "La Vie Boheme," "Take Me or Leave Me," and yes, "Seasons of Love" — are not the show's rock numbers. Jonathan Larson intentionally wrote a musical that mostly sounded like what you could hear on pop music radio, as a means of making the story of La Boheme and his beloved, endangered East Village even more relevant to the era in which he was living.
If people could see the plight of impoverished artists defiantly staring death in the face, portrayed in a familiar manner, maybe they also could feel it, in a way they might not have otherwise. The only problem with relying on what's popular at the moment you write it is that time doesn't stop. If you want to move generations beyond the present, you have to tap into more than current trends as a means of communicating.
Pop culture references fade — and if you depend on them too much, you risk losing your message, too. Our mission has never been more vital than it is in this moment: to empower through understanding. Financial contributions from our readers are a critical part of supporting our resource-intensive work and help us keep our journalism free for all. Please consider making a contribution to Vox today to help us keep our work free for all.
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Next Up In Culture. Delivered Fridays. Thanks for signing up! Check your inbox for a welcome email. But, as the night wore on, the actors grew more energized. For the rest of the evening, the whole company danced and did their blocking with gusto. With the impromptu memorial performance behind them, the cast dove into their first public preview on January That April, Rent made the jump to Broadway, where it would remain for the next 12 years.
For many, it can be tough to catch a show on the Great White Way without breaking the bank—but these days, most Broadway productions offer daily ticket lotteries before a performance, with the winners getting the right to buy choice seats at a bargain price.
Rent is credited with inventing this concept. According to Seller , he and McCollum felt the need to make Rent accessible to those "in their 20s and 30s, artists, Bohemians—the people for whom [Larson] wrote the show. The process began two hours before the show, and the tickets were distributed on a first-come, first-serve basis. Soon enough, huge lines of hardcore fans known as "Rentheads" clamoring for rush seats started forming outside the theater.
To beat the frenzy, many diehards even took to pitching tents and camping out on the street. Naturally, this raised some concerns. Since then, this sort of thing has become an industry standard, although modern shows tend to conduct their lottos digitally.
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