Rock on with "Rent": An Interview with Bryan Mercer

Director Bryan Mercer discusses his vision and inspiration for Theater Emory's upcoming concert version of "Rent".

RENT (in concert) September 30 – October 2, 7 p.m.; October 3, 2 p.m.
Performing Arts Studio

The Broadway hit and pop culture phenomenon "RENT" comes to Emory in a new concert version directed by Atlanta professional Bryan Mercer. The high-energy "rock opera," based on Puccini's "La Bohème," tells the story of a group of artists living in New York and struggling to survive. Relationships between lovers, exes and maybes form the epicenter of this AIDS crisis-era drama.

HIV-positive ex-rock singer Roger struggles with the prospect of getting close to vivacious party-girl Mimi after resigning himself to a life alone with his disease. Mimi's anthem, "Out Tonight," begins to draw Roger out of his shell and back into the world around him, and the new couple attempts to negotiate the rocky terrain of an HIV-positive relationship. Tom Collins and transvestite street performer Angel, provide a parallel to the Roger/Mimi relationship as both characters endeavor to create a world of love, peace and hope in the midst of the illness in and around them. "I'll cover you with a thousand sweet kisses" Collins sings to Angel in their duet "I'll Cover You," one of the most uplifting and loving offerings from the emotionally fraught drama.

Bryan Mercer, actor, singer, musician, composer, puppeteer, painter and director of Theater Emory's "RENT," talks about his experience with the musical and directing a concert version of the well-known stage play.

Mercer admits that his first experiences with "RENT" weren't great. For years he had dismissed the show as puerile, a bunch of artists "whining about writer's block," one of Mercer's least favorite themes on stage. "I'm an artist," says Mercer, "you just do it. Get over it." Mercer does, however, acknowledge the appeal and power of the raw intensity the show has come to be known for: "'RENT' excited a generation. It has the allure of the artist and artistic freedom."

Mercer's first viewing of the show was the DVD of the farewell performance on Broadway. While he was interested by the songs he found himself distracted by the story-telling devices and frenetic movement of the play. "I just wanted them to stay still and sing it. That's where the honesty is. Like in the support group."

One of the first introspective moments of the play comes from the AIDS support group to which Angel takes Collins and where Mark, the narrator figure, finds himself an uncomfortable guest. The group joins together to ask, "Will I lose my dignity? Will someone care?" and to reflect, "There's only us, there's only this," a phrase which becomes the show's mantra. "That was my window into the show," says Mercer, "through the support group."

The concert staging of the musical means that moments like the support group stillness are found and created throughout the play. For the majority of the play, the characters are standing in front of the microphones, singing to each other and the audience. Mercer doesn't believe that anything is lost in this type of staging. "The honesty still reads," he says, "We believe they are speaking to each other and communicating." Because the entire cast remains on stage throughout the show, the characters, lead and supporting, become something of a Greek chorus. "Everyone is a witness to what happens on stage," Mercer says excitedly, "It cranks up the intensity."

Mercer, who lived in Tompkins square during the 1988 riots, brings a level of personal experience to the material that may be lacking in his younger cast and audience. "I've lost many people to AIDS – limb by limb – so I come at it from a very different experience." Mercer describes the atmosphere of his life during that time: "It was tense. We were tired. We were mad and we were tired of going to funerals." For Mercer, staples of the AIDS literature canon written in direct reaction to the height of the crisis in America, such as "RENT" and Kushner's "Angels in America" feel dated. "You can feel the preaching more now," he explains, "But the AIDS canon has changed and is changing and may be ready for a re-addressing for this generation now." What would this re-evaluation look like? "I just want to see an AIDS play where no one dies in the end," Mercer says.

For those who don't know the musical well, Theater Emory's concert version is still well worth seeing. "If you don't know the musical, you can still enjoy the harmonies. The show rocks on!"

Rock on with "RENT (in concert)" at Theater Emory. Information and tickets at 404-727-5050, boxoffice@emory.edu, www.arts.emory.edu. Tickets: $18; Discount Category Members $14; Emory students $6.

Book, Music and Lyrics by Jonathan Larson. Musical Arrangements, Original Concept/Additional Lyrics by Steve Skinner and Billy Aronson. Music Supervision and Additional Arrangements by Tim Weil. Dramaturg Lynn Thomson.

by Nicholas Surbey
Arts Associate
Arts at Emory