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 on the walls, larger than life. 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, getting us even closer to what’s happening on stage. Some of moments of the projection feed are prerecorded, but most are live-feed cast directly from Mark’s camera, or from cameras cleverly set throughout the set.

Above 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 some 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.

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 upstage and to the sides into them while we project massive live-feed close-ups of their faces as they leave their message. We see what Mark is imagining in his mind as he hears them speak.

We will also put a camera into the phone booth where Collins calls them from, giving us a new vantage point of his assault.

The placement of the characters below indicates where we would put the 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 could move through them for “Out Tonight.”

We also have a camera in the phone booth, and of course Mark has his handheld camera.

To make this possible we need support for:

  • A live-feed and projection designer. I’ve worked with the accomplished Nick Hussong and I’d love to work with him again.

  • Three projectors

  • 6 static cameras that are placed throughout the set

  • A hand held camera that could cast lag-free video through a transmitter for Mark.

  • More time in the tech process to tech out the live-feed projection element.

HUA’s enhancement would make this vision of RENT possible, and be the testing ground for a future production in Taiwan.