RENT: The Galloway School Virtual Program

Content Warning

RENT is rated PG-14. We do not suggest this production for young audiences especially, due to language, difficult themes like HIV/AIDS, suicide, death, homelessness, addiction, and all kinds of vulnerable, affectionate relationships happening on our stage. We invite you to step out any time you need a moment or a breath, and we support you if you decide this isn't the show for you.

In the spirit of our mission statement here at Galloway, we believe that cultural competence is of utmost importance in educating young people. We would like to encourage you to continue the conversation at home, do your research, and dig into the themes together as a family.

Thank you for joining us!

Note from the Director

What a process this has been. Our first Upper Learning musical, post-pandemic era, chosen specifically for this group of students at this particular time, has been a massive undertaking for everyone involved - a true labor of love. With 40 songs and very challenging content, we knew that we had our work cut out for us. What we didn’t know was that one week before opening, we would be forced to shut down operations with no guarantee of a second shot. The messaging of “No day but today” became painfully relevant to our own process. Fortunately, thanks to the incredible efforts of many, a lot of sleepless nights, and a lot of time spent on Google Calendar, we were able to reschedule, thanks to the resilience of this community.

If there has ever been a time that RENT became relevant, it’s now, nearly 30 years past its debut on Broadway. The 2020s have been an unaffordably high-”rent” decade thus far, with massive amounts of loss and sacrifice. And yet, there is - and always will be - hope to be found, glimpses of light like a candle in the dark or a full moon in the night sky when everything else has gone dark.

How do you measure a life? For me, it’s my morning coffee. Our night-night routines with our two kiddos. Musicals I’ve directed, performing gigs I’ve held. My yearly planner purchase.

Vacations with my husband, Tim. Decades upon decades of phone calls with my mom and bear hugs from my dad. Texts with my sister and my best friend, Katie. When the limelights in our front yard finally blossom each summer. Catching fireflies, jumping in leaves. Santa pictures.

Graduations. My deeply beloved students over the last decade and a half.

Speaking of students, I cannot possibly write a Director’s Note for my first show at Galloway without praising this cast. From our very first Zoom meeting in August to today, they have plowed through this process and truly risen to the occasion. I have pushed them, challenged them, insisted on a commitment to their own potential. They have cried, I have cried. We have hugged. We have grown. And I cannot wait for you to see what they have done - what they have created. This show is one for the books. Something to measure our time.

Life keeps turning. This year in the life of RENT is all of it - highs, lows, deaths, disease, health, poverty, riches, friends, and family. Moo with us.

Natalie Pitchford

- Natalie Pitchford

About the show

The early 1990s. The Lower East Side, Manhattan. A housing crisis, the AIDS crisis.

Reagan. The advent of punk rock. Artists living in squat houses. Drugs. The early days of the LQBTQ+ pride movement.

This is where we begin. Act one takes place over the course of one night - Christmas Eve. Act two picks up a few days later, New Year’s Eve, and moves through an entire year - closing with Christmas Eve one year later.

With 40 songs, RENT is structured and written like a complex opera. There are solos (arias), recitative (sung dialogue), quartets, trios, finales, motifs (thematic music for certain characters and moments). In fact, the story and even some of the music is loosely based on Puccini’s opera La Boheme. It is a show that I have been in love with since it debuted on Broadway in 1996 - and I got to see it, with the original cast, in all its glory.

About the show cont.

One of my priorities in directing this show was to avoid any kind of “cartoonization” of the characters or the setting. While we cannot possibly educate our audience on every facet of this story, we have worked in little context clues. Some of the flyers you have been handed as you walk in are relics of the time, and on the back have brief descriptions. The protest banners on the walls are inspired by real banners that squatters hung on fire escapes to stake their claim on illegally acquired property.

Squat conditions were barely liveable, usually with no power and minimal sanitation. In order to live in a squat house, a resident was required to participate in the DIY renovations of the building. The residents were often artists or students who had fallen on hard times and had to choose between homelessness and squatting - naturally, many of them chose squatting so they had shelter, albeit illegal, unclean, and unsafe. It is not surprising that drugs and HIV/AIDS became major issues amongst the squat community.

For our production, we wanted to work in some way for our audience - you - to participate, something that held meaning. An early assignment in this class was for our cast and crew to list 21 ways in which they measure a life, the number of ways listed in “Seasons of Love.” Their responses were so poignant, we knew we had to offer the same opportunity to our audience. We invite you to participate more deeply in the spirit of RENT by contributing to Angel’s shroud in the lobby, and look for the moment when you see your contribution on stage in Act 2.

We are so glad you are here, and we are so grateful to share this story with you.

An Appreciation of Rent, Fritz Sumter IV, Dramaturge Rent, a musical by Jonathan Larson, is a modernized version of the late nineteenth century French opera, La Bohème by Giacomo Puccini. The opera in turn is based on a series of short stories written in the 1850s, Scenes of Bohemian Life, by Henri Murger. Each story deals with a group of “Bohemians,” who try to succeed as artists, one working as a poet, another as a musician, another as a painter, falling in and out of love, cementing friendships, creating family, surviving poverty, coming to terms with death. These themes run across all three works.

One connection across the works is the role of illness, tuberculosis, called consumption in the nineteenth century, and AIDS in Rent. There is also the societal illness of poverty that plays a role in all three works. None of the characters, in the 1850s or the 1980s, has sufficient funds for food, heat, clothing, or rent – hence the name of the musical. The living conditions were bad; and those in a position to help were not interested in alleviating the conditions of the Bohemians, neither the landlord in the nineteenth century nor the absentee landlords in Rent.

Drug addiction is another disease of poverty; it gets worse for those suffering from addiction while living in poverty. There is no way of seeking help. Similarly, AIDS can affect anyone, but the government and the media consider AIDS a “gay disease,” which no one outside the world of contemporary Bohemians needs to worry about. In the nineteenth century the same is the case with consumption; undiagnosed and unmedicated, it ravaged sufferers’ bodies, only affecting the poor and the outcast.

A similarity from one of the original French stories and the twentieth century musical occurs with the characters Schaunard and Angel and their quest for money. Schaunard, a composer and musician, receives a commission to write and perform music so horrible it will kill a parrot that inhabits an apartment next door to the wealthy patron who proposes the commission. Similarly in Rent, Angel is asked to play drums so badly that an annoying dog would kill itself. Larson chose to include this unexpected humorous excerpt from the original source and reproduced it in the contemporary musical.

An Appreciation of Rent, Fritz Sumter IV, Dramaturge Another pair of characters illustrates a connection between two works, this time between La Bohème and Rent. Throughout Rent Roger tries to write “one great song,” but unfortunately the only inspiration he can find is the reference to “Musetta’s Walz” from La Bohème. Searching for his creative spark, he meets Mimi, a stripper who lives in his building. Initially he does not want to open up to Mimi, due to his previous girlfriend telling him that they have AIDS, then killing herself. Mimi persists; after a year of relationship turmoil he is finally ready to reveal his song. Tragically, he is too late; Mimi is dying of drug overdose while living on the street. Her friends find her and bring her to the apartment. As a last goodbye Roger plays the song he wrote for her. The song and his love for her are able to resuscitate her, demonstrating that love and art conquer all.

The year 2022 is one of the best times to learn about Jonathan Larson because of the movie tick tick boom on Netflix, recounting the story of Jonathan Larson as he works on writing Rent. Born in 1960 in Mt Vernon NY, Larson loved arts from an early age. After college, he moved to New York City to pursue playwriting. He began with relatively small works, tick tick boom and suburbia, an unofficial adaption of George Orwell’s 1984.

Playwrite Billy Aronson approached Larson to update La Bohème. The result was Rent, inspired by stories across two centuries and inhabited by characters who populated Larson’s world in New York City.

Tragically on opening night of Rent’s first off-Broadway preview, Jonathan Larson died of an aortic dissection. He never knew the enthusiastic reception of his musical; the show’s success, influenced by characters and situations drawn from Scenes of Bohemian Life and La Bohème, brings comfort to those who regret Larson’s early death.

Musical numbers

Act 1

Tune Up A Voicemail #1 Tune Up B Rent Christmas Bells 1 You Okay Honey?

Tune Up (Reprise) One Song Glory Light My Candle Voicemail #2 Today For You A Today For You B You'll See Tango (Intro) Tango: Maureen Support Group Out Tonight Another Day Will I? On the Street Santa Fe I'll Cover You We're Okay Christmas Bells Over the Moon

Mark, Roger Mrs. Cohen Mark, Roger, Collins, Benny

Mark, Roger, Collins, Benny, Joanne, Company

Homeless Man Angel, Collins Mark, Roger Roger Mimi, Roger Mr. Jefferson, Mrs. Jefferson Mark, Roger, Collins Angel, Collins, Roger, Mark Benny, Roger, Collins, Mark, Angel Mark, Joanne Mark, Joanne Steve, Gordon, Ali, Pam, Sue, Angel, Collins, Mark, Company Mimi Mimi, Roger, Company Roger, Steve, Company Homeless Ensemble, Squeegieman, Cops, Blanket Person, Mark, Angel Angel, Collins, Mark, Homeless Ensemble Angel, Collins Joanne Homeless Ensemble, Squeegieman, Vendor, Collins, Angel, Mark, Roger, Cops, Mimi, Junkies

Maureen, Elsie and her Cows

La Vie Boheme/I Should Tell You

Company

Act 2

Seasons of Love A Happy New Year A

Company Mark, Roger, Collins, Benny, Mimi, Angel, Maureen, Joanne

Voicemail #3

Mark's Mom

Voicemail #4

Alexi Darling

Happy New Year B

Mark, Roger, Collins, Benny, Mimi, Angel, Maureen, Joanne

Valentine's Day Crossover

Mark, Joanne, Maureen

Take Me or Leave Me

Joanne, Maureen

Voicemail #5

Alexi Darling

Seasons of Love B Without You

Company Roger, Mimi, Featured Dancers, Company

I'll Cover You (Reprise) Halloween

Cokie Jordan

Miss Esther Sherman

Collins, Company Finley Armstrong Ms. Sarah Myers

Moses Anderson

Mark

Mr. Boris Sheinkopf

Goodbye Love

Mark, Roger, Collins, Benny, Mimi, Angel, Maureen, Joanne

Voicemail #6

Roger's Mother, Mimi's Mother, Mr. Jefferson, Mrs. Cohen

Finale A

Mark, Roger, Collins, Benny, Mimi, Angel, Maureen, Joanne

Your Eyes Finale B

Roger Company

acting ensemble Luke Cravey

Alex Hogan

Jacob McGlothan

Nate Hogan

Ariana Jones

Sawyer Sugarman

Morghan Belt

Peyton Hunter

Kathryn Steele

Liza Tewari

Alex Lewis

Mira Silverman

Griffen Perry

Audrey Smith

Emily Ruediger

Margaret Edmonds

Marco Schittone

Micah Parness

Fritz Sumter

Sam Barber

Claire Markwalter

Caroline Lackey

Jake Isenberg

Will Morrison

Bennett Stone

Artistic Team Natalie Pitchford Director & Music Director

Liz Whalen Tech Director

Shane Simmons Asst Music Director & Rehearsal Accompanist

Misao Cates Costume Designer

Cara Lavallee Choreographer

Truly Cates '17 Lighting Designer

Daniel Solammon Conductor

Holly O'Rourke Sound Editor

Orchestra Chris Brent Davis Keyboard 1

Matthew LeCompte Keyboard 2

Brian Mitchell Guitar 1

Carter Davidson Guitar 2

Isaac Lourie Bass

Aidan Munroe Percussion

Megan Cramer Intimacy Coach

5 2 5, CREW 6 0 0 Natalie Spear Stage Manager

Del Abney Allison Meyer Assistant Stage Manager Light Board Operator

Simon Guterman Sound A1

Dolph Orthwein Sound A2

Hanley Levine Spot Light Operator

Amelia Pierce Spot Light Operator

Audrey O'Rourke Run Crew Stage Right

Alex Sawyer Fire Safety Supervisor

Mason Martin Props

Ariana Raschid Farrokhi Costumes

AJ Weinstein Costumes

MINUTES Sophie Cadiou Hair & Makeup

Matthew Corrigan Run Crew

Diego Shipmon Run Crew

Hayden Craig Run Crew

Cast List

Mark Cohen Roger Davis Tom Collins Benjamin Coffin III Joanne Jefferson Angel Schunard Mimi Marquez Maureen Johnson

Blanket Person Vendor The Man Restaurant Person Mr. Grey Mrs. Cohen Roger's Mom Mr. Jefferson Mrs. Jefferson Mimi's Mom Alexi Darling Paul Steve Gordon Pam Ali Sue Squeegieman Answering Machine

Luke Cravey Alex Hogan Jacob McGlothan Nate Hogan Ariana Jones Sawyer Sugarman Morghan Belt Peyton Hunter Kathryn Steele Liza Tewari Alex Lewis Mira Silverman Griffen Perry Audrey Smith Emily Ruediger Griffen Perry Liza Tewari Liza Tewari Margaret Edmonds Marco Schittone Micah Parness Fritz Sumter Kathryn Steele Margaret Edmonds Emily Ruediger Sam Barber Marco Schittone

Understudies

Mark Cohen Roger Davis Tom Collins Benjamin Coffin III Joanne Jefferson Angel Schunard Mimi Marquez Maureen Johnson

Micah Parness Aidan Mahoney Griffen Perry Alex Lewis Kathryn Steele Fritz Sumter Liza Tewari Audrey Smith

Cast List Cont.

Seasons of Love Soloists Ariana Jones, Micah Parness Cows Margaret Edmonds (Elsie), Emily Ruediger, Audrey Smith, Liza Tewari, Kathryn Steele Homeless Featured Singers Griffen Perry, Aidan Mahoney, Fritz Sumter, Audrey Smith, Liza Tewari La Vie Boheme Restaurant Guests Emily Ruediger, Audrey Smith, Margaret Edmonds, Kathryn Steele, Bennett Stone, Micah Parness, Marco Schittone Cops Margaret Edmonds, Micah Parness Junkies Claire Markwalter, Caroline Lackey, Sam Barber, Mira Silverman, Fritz Sumter Homeless Ensemble Jake Isenberg, Will Morrison, Sam Barber, Claire Markwalter, Caroline Lackey, Margaret Edmonds, Bennett Stone, Alex Lewis, Micah Parness, Emily Ruediger, Marco Schittone, Mira Silverman, Kathryn Steele

Shoutouts!

Click here to view cast and crew shoutouts from family and friends!

Special Thanks

Dr. James Calleroz White for not only allowing us to do this show but supporting us in it; for David Long who offered reassurance and guidance in handling some of the challenging content; James Foreman and Beth Wilson for supporting the production, the cast, and the logistics of this production from the very beginning; Dr. Margaret Montgomery for taking your Excursion students to the archives and educating them about HIV/AIDS, and even creating some of our protest banners; Megan Cramer for so graciously passing the torch and for helping our leads get comfortable with the intimacy of this story; Misao Cates for the amazing Shroud which has become its own character in RENT; Liz Whalen for not even flinching when I first showed you the sketch I had in mind for the set; Cara Lavallee for taking on the vision I’ve had for this production since the beginning and running with it; Truly Cates for the incredibly beautiful and detailed lighting story you have created; Daniel Solammon for rolling with this entire process and giving us an amazing band; this beautiful, precious cast for their bravery every single day as they learn from a new director and have been pushed harder than ever before - and achieving greatness in the process; Shane Simmons, Chris Brent Davis, and Holly O'Rourke for jumping into the Galloway Community and just going for it with us; the incredible FAB Theatre Team - Leslie Isenberg and Marci Silverman and FAB President Courtney Stoll for all that you are doing to make this show happen in so many ways we can’t even list; Meghan Stauts, Ricky Emmons, and Clay Randel for creating such beautiful methods of spreading the word about our show; parents of the cast and crew for all the crazy rehearsal times, drop offs, and pick ups; and all of you, our audience, for joining with us today in community around a musical with a beautiful story. No day but today.

Thank you to Tacos and Tequilas for providing dinner for our actors and crew!