The world through MARK’s camera…
In this production of RENT, our narrator Mark plays a more central role in how we see and understand the story and characters, because we actually see what he is capturing through his videocamera live-projected onto the three walls, larger than life. using live-feed cinematography and projection.
The upper level of the RENT set is a collage of faded and torn AIDS awareness posters, 90’s ads, eviction notices, and posters from Roger’s rockstar glory days. They create a washed-out texture that we project larger-than-life video on, giving us a close-up perspective to what’s happening on stage. The audience experiences their perspective of the live scenes and Mark’s perspective through his camera simultaneously, leading to stronger, more emotional storytelling.
Below is how I’d like to start the show. We see what Mark is actually shooting as he describes it. We can feel him invade Rogers space as he’s “writing one great song.” The quality of the video will look like it is shot on a 90’s videocamera, with static and the date, bringing us into the era.
And then we get to the voicemails. Cameras are imbedded into the walls on the second level so actors face into them while we project massive live-feed close-ups of their faces as they leave their message. We are exploring many creative options for this effect.
One of our static cameras will be placed into the phone booth where Collins calls them from, giving us a new, more terrifying close-up vantage point of his assault.
The placement of the actors below indicates where I imagine we would place the static cameras. On the upper lever, we have five cameras imbedded in the poster wall so actors can stand in front of them in different places on the balcony for the “The Voicemails.” Mimi would also move through them for “Out Tonight,” and they would also help us access the memory of April, Roger’s girlfriend who passed away, among other moments.
We also have a camera in the phone booth, and of course Mark has his handheld camera.
Below is a concept I’d like to explore in “Seasons of Love,” in which the number begins with the entire cast sitting in the support group circle while Mark is in the middle panning through their faces, getting us up-close and personal to their emotions.
There will also be pre-recorded material, such as collages of iconic moments throughout the show, the memories that Mark ruminates on as he contemplates their lives and his position as observer-documentarian. As the one who will outlive them all. We plan to shoot some of this footage in New York City early 2027.
