RENT: A Story That Resonates Even Today

Is RENT as relevant today as it was when it first hit the Broadway stage back in the mid-90s? That is the question I seek to address today on the Simon Morris blog. Is this classic modern musical still relevant?

This is a problem that every musical theatre production faces at some point or another, as does every piece of art that has ever been created. Art often depends on the societal trends of the day to make an impact, however it is its ability to rise above its own cultural environment and tap into common human emotion that makes great art timeless.

RENT: The Tale of One Group of Friends in Alphabet City

The show itself chronicles a year in the life of friends as they struggle with love, loss, addiction, desperation and so much more. Classic tunes from the show include fan favourites such as ‘La Vie Boheme,’ ‘Seasons of Love,’ ‘I’ll Cover You,’ ‘Take Me or Leave Me’ and ‘Without You’

The general story sees these friends meet, connect, fall in love, struggle with issues such as heroin addiction and AIDS, deal with the death of one of their own (Angel) and survive, coming together in Mimi’s hour of need and saving her from following Angel to an early grave.

A Musical That Taps Into the Very Essence of Humanity

On the face of it, RENT has endured because the issues that plague its characters are ones still very present in modern life. Many people still suffer from drug addiction and AIDS, LGBT rights, which are skilfully explored in the production, are more prevalent than ever and the excesses that so typified the 1980’s backdrop of the piece still reverberate in 2014.

However, I would suggest that this is an overly simplistic explanation of the enduring popularity of RENT. Yes, many of the issues it explores are more prevalent than ever in today’s society, but it’s the musical’s ability to tap into common themes in human emotion that made it, and continue to make it, a massive hit with audiences across the musical theatre loving world.

So, Simon Morris readers, if this little analysis has taught you anything, it should be that a musical works when it resonates with audiences. Only through the exploration of complex human emotion can audiences gain that window they need to form a connection with the characters up on that stage and, ultimately, grow to love them!

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We’re Off to See the Wizard!

Greetings Simon Morris readers, last week reports suggesting that JK Rowling has agreed to the development of a Harry Potter theatre production set tongues wagging everywhere. Potter fanatics across the world wept with joy.

Growing up as a kid in the 90’s, of course I was a Harry Potter fan. I was obsessed. I remember the first time I got Harry Potter and the Prisoner of Azkaban, I read it non-stop until I finished (it took me two days) and I practically made my mum drive me to Waterstones at midnight to collect my pre-ordered version of Harry Potter and the Order of the Phoenix. Like any real Potter fan, I felt as though a hole had formed in my heart at the end of Harry Potter and the Deathly Hallows.

The Story of Lily and James

Naturally therefore, the news that my favourite book could be being brought to life via my favourite is probably the best news I’ve heard all year. The downside is that as far as we know, it’s not being turned into a musical. I can forgive that, because it’s freaking Harry Potter!

So what do we know so far? Initially, not much, but there are some things we do know. The leading choice for director for the project is John Tiffany, an accomplished professional whose production of The Glass Menagerie on Broadway clinched seven TONY award nominations.

We also know that this play won’t tell the story of Harry Potter. We’ve already done that and it seems that Rowling has no desire to retell an old favourite. Rather, she is going to go back to his parents’ generation. She is going to tell the story of Lily Evans and James Potter.

Simon Morris on Lily and James

In my opinion, Simon Morris readers, this is an inspired decision. There’s always been a curiosity about Lily and James in the Harry Potter fandom. We’ve never really known much, with the exception of a couple of scenes witnessed by Harry in the books, and a window into the lives of the people who created the Boy Who Lived could be a fine edition to the Harry Potter canon.

This once I’ll reluctantly forgive the fact that it isn’t going to be a musical (imagine the epic love show tunes you could get out of James years’ long pursuit of Lily). This hasn’t been confirmed but if it is, this play should be the stuff of legend and I’ll do all I can to be there opening night!

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My Top Five Musical Theatre Anthems

Every time I get out my IPod and switch the player to my ‘musical theatre’ playlist, there are five songs that even now inspire something in me that nothing else can, and that’s why I believe they rise head and shoulders above the rest. That’s why this week I wanted to let you in on my top five musical theatre anthems!

A musical number is meant to inspire something inside you – whether it is pride, anger, fear, sadness, compassion, bravery, admiration etc. It’s supposed to make you feel something, and in turn make you believe in the character’s story and wish them well on the journey they are taking.

This is the basic criteria that I use to define a musical theatre anthem; it’s got to get you in the heart. So what are my top five of all time?

1) Defying Gravity: The all-time favourite has to be first act closer ‘Defying Gravity’ from Wicked. The song comes at a point where the carpet has been ripped out from under Elphaba, and you’re totally with her when she decides to say a big ‘screw you’ to the wizard and chart her own path. Plus the last bit of the performance, the rise up and the high note, is just spine tingling.

2) Don’t Rain on My Parade: A Funny Girl staple, ‘Don’t Rain on My Parade’ is similar to ‘Defying Gravity’, but it’s more hopeful. Fanny believes in the power of her love and her future and that, along with the bold passion littered throughout, has you standing up in your seat every time.

3) Don’t cry for me Argentina: The seminal classic from Andrew Lloyd Webber’s Evita, ‘Don’t cry for me Argentina’ is a more subdued, reflective affair. It’s Eva taking the time to share her love and devotion with her people, and the sweeping nature of the tune makes you feel like you’re taking a stroll down memory lane arm-in-arm with Eva herself.

4) I’ll cover you (Reprise): For me the reprise of this classic love show tune is more powerful than its first turn because of time and perspective. You’ve seen just how strong the feeling is between Collins and Angel, and this heart breaking lament makes you feel as if you’ve lost your life partner right alongside Collins. You’re broken for and with him.

5) I Dreamed a Dream: What else can I say, Simon Morris readers, except to say that this song is exceptional. A lament which sees Les Miserables character Fantine express her complete hopelessness, you just want to hold her hand and let her know everything will be ok, even if it really won’t be for the troubled heroine of this musical masterpiece.

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Perfect Your Stage Acting Technique

If you are a budding musical theatre performer, you need all the help you can get to make it onto that illusive West End stage at the top of the bill. That’s why I thought I’d pull on my own experiences of the industry and give you a few tips to help you perfect your acting technique.

If you don’t have any experience in the industry, you may think that it’s all about talent; that if you have the skill, you’ll rise to the top with no trouble at all. You couldn’t be more wrong. An actor needs to know their craft to be successful in it, and that starts with the differences between stage acting and film acting.

Stage Acting vs Film Acting

Young Performers often fall into the trap of imagining that performing on a stage is a similar experience to performing in front of a camera. This couldn’t be further from the truth and that is because you are performing in front of a live audience.

A live audience comes with its own set of unique concerns. One that you must drill into your head is that you must get it right and do so consistently. You don’t get a second take and if you screw up, word could spread and it could damage public perception of the entire show.

You also have to remember the immediacy of a live audience. In front of camera, you perform, then your performance is edited, airbrushed and positively mangled to ensure it appeals to the audience. On stage, that responsibility rests on your shoulders. You and you alone are responsible for evoking the required response from your audience.

Bring it to Life

So, now you know why stage acting is such a unique style of performance, what can you do enhance your ability to bring a part to life in front of a live audience and establish yourself as a skilled stage actor?

· Follow Direction: On stage it is crucial that you follow direction. You are not a diva, you are performer; going off script won’t be hailed as innovative, it’ll be seen as obstructive. The director knows what they’re talking about – learn from them.

· Cultivate your Voice: In musical theatre especially, but even in non-musical productions, your voice needs to reach the back of the room. You need to take care of your vocal cards.

· Learn the Lingo: Stage acting is at the end of the day an industry, and like any other industry, it has a language all of its own. Learn terms such as ‘blocking’ and what they mean so that you can effectively communicate with those around you.

· Live Life: Don’t sequester yourself away and cut yourself off from the world. The best stage actors draw on their own experiences to bring their characters to life, to supply depth and believability.

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Take Her or Leave Her

Even I didn’t know, Simon Morris readers that Jessie Wallace once played Maureen in RENT. Reading that this week reminded me of the versatility of this iconic role and leads me to explore just why Maureen is such a fantastic character.

Maureen Johnson is a bi-sexual performance artist who is the girlfriend of lawyer Joanne and ex-girlfriend of film maker Mark in the hit 90’s musical RENT. That short description alone should give you an idea of just how many opportunities an actress is given when she takes on this iconic role.

Musically, Maureen requires a girl with lungs. Her signature introductory song, ‘Over the Moon,’ is a stylised Native American chant that reimagines classic nursery rhyme ‘the cat and the fiddle.’ Her main duet, the stunning ‘Take Me or Leave Me,’ with partner Maureen, is probably the best break up song in modern musical theatre.

The thing is that Maureen is so flighty that there are a number of different ways you can play her. I turn to three interpretations of the classic RENT character here to illustrate just why she is so fantastic.

The role was created on Broadway by the ever talented Idina Menzel, who went on to also create the iconic role of Elphaba in Wicked,  for which she won a TONY. Maureen was in fact her first major role on Broadway and she reprised it in the film version of the production.

Menzel made the character strong, determined and passionate. With Idina’s Maureen you saw the activist side of the character emerge. She cared about the world around her and the art she produced. She was very much the fresh faced, idealistic Maureen with a slight edge.

Next we turn to Nicole Scherzinger’s interpretation of the character at the Hollywood Bowl production of the musical. As the leading Pussycat Doll, Nicole oozes sexuality and this is an important aspect of Maureen. Maureen sizzled during her turn at the bowl.

Finally, we turn to Jessie Wallace’s portrayal of the activist. The EastEnders actress replaced Denise Van Outen in RENT Remixed, a reimaging of the piece set in the modern day. Despite the negative reviews it got, Jessie highlighted the hardness in Maureen; what gives her the strength to get up and stage her raw protest pieces.

Maureen is such a complex role and each of the three actresses highlighted a different aspect of the character. That’s why Maureen is so fantastic; you never know what you’re going to get from her. It’s a new experience every single time.

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What I’d like to see from Elaine Paige’s New Chat Show

Musical theatre geeks cheered this week as the news was announced that legend of the genre, Elaine Paige, is set to front a new musical theatre inspired chat show. What’s coming up and what would I like to see from this new show?

Elaine Paige is a genuine musical theatre icon; the woman’s a powerhouse on the West End Stage. She famously originated the roles of Eva Peron in the West End original production of Evita and Grizabella in Cats. She’s also had notable roles in productions of Hair, Chess, Jesus Christ Superstar and Grease.

So she’s perfect to front such a new show. A show like this, which brings the best in the modern industry and sits them down for a chat, of course has to be fronted by such a presence in the industry. This is because of the nature of the chat show formula.

A chat show, at its heart, is a show designed to provide a unique insight into the guests’ lives and character. Only someone who they respect, who they have long admired and looked up to, could handle such a task. Paige’s authority in industry circles uniquely positions her for such a task.

The show is slated to appear on the Sky Arts channel, so it’s very clearly centred towards a niche audience and this could prove a true boon to true fans of the genre. It’ll allow Paige to speak to the guests on a level that provides true insight. She won’t have to dumb it down for the general public who naturally have very little frame of reference.

Paige herself has said of the opportunity that "I look forward to welcoming some of my friends and colleagues to the show and singing not only some new songs but some of my all-time classics."

From this we can gather that it’ll be a mixed format; that part of the chat show experience will involve belting out some classics that provide a snapshot of that performers experiences and how they have lived their lives. That’s exactly what I want to see from a show like this; true insight. Also if it yielded collaboration of the Judy Garland/Barbara Streisand variety, then I’ll truly count it a success!

For musical theatre fans, Elaine Paige’s new show provides a unique opportunity to know more about the people behind the characters and it’s something you absolutely shouldn’t miss, Simon Morris readers.

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A Reflection: We Will Rock You!

Musical theatre junkies were forced into mourning last week as it was announced that beloved West End staple‘We Will Rock You’ is set to close after 12 years. In tribute to the game changing show, I wanted to take the time to reflect on what made ‘We Will Rock You’ such a fan favourite.

After 12 years, ‘We Will Rock You’ is closing. The show was originally written by Ben Elton and is a jukebox musical; a production framed around the songs of a popular music act. In this case, it was obviously Queen.

 It became the longest running show at the Dominion Theatre and was one of the biggest West End exports of the last decade. People everywhere love it (I’m not going to reveal how many times I’ve been to see it, let’s just say it runs into the double figures.) So what was it about the show that so entranced audiences?

For anyone who’s being living under a rock, the show tells the story of a dystopian future where all music everywhere is banned. As a band of true bohemians lead the struggle to restore fashion, live music and freedom of thought to the world in which they live, we watch the characters learn, love and grow.

Not surprisingly as a jukebox musical of a band of which some members survive, two of those members, Brian May and Roger Taylor soundtracked the production. It meant that we got Queen classics such as ‘Another One Bites the Dust,’ ‘Radio Gaga’ and ‘Bohemian Rhapsody’ in musical theatre form.

It’s been phenomenally successful; it’s been seen by an estimated 16 million people. However it was actually never a favourite of the critics. When it was first released the Mirror famously declared that “Ben Elton should be shot” for ever putting pen to paper.

So why has it proved so enduring? The plot certainly plays a part in it. As human beings, we have a certain attachment to music; it brings out something in us that nothing else does. The idea of it being taken away seems gut wrenching and it makes us connect with the characters.

However this is one case where I would say the music outshines everything. Those Queen songs are loved by so many people and I think ‘We Will Rock You’ was so successful because it provided the audience with a new way of listening to and interpreting them.

‘We Will Rock You’ reminds us of the power of the jukebox musical. Like ‘Mama Mia’ before it, people went in wanting to be entertained in a new way by the songs they’ve loved for years. That is why everybody is so sad that the sun has finally set on ‘We Will Rock You.’

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