This musical is one of the creative ones, where we are entertained since start to end by getting in touch with the characters which are supporting cast for the famous story “The Wizard of Oz”. The main characters are Galinda, the Good Witch of the North and the antagonist Elphaba, the Wicked Witch of the West. We can also find Nessarose, the Wicked Witch of the East.

It started with Glinda talking to Oz after the death of the last wicked witch, however when it was asked how Glinda came to know her, we then get back into the past and one thing after another start to be revealed. It is based on the novel authored by Gregory Maguire, with the same title, and based on the L. Frank Baum novel.

The story sends a message that we should not see things just as they are, because there are always things behind these. It also tries to find out the how things that is considered good came to be, and what is considered to be evil, also why people seem to be evil or good. We are then given the view of investigation effects of prejudice, and how fame and politics can corrupt people.

“Wicked” is a very enjoyable show, as it gives us a very spectacular view. The scenery used in the show is very intricate, and is very supportive for all actions on made on stage. The costumes used by the characters are very well made and also are the beautiful makeup. The actors did a splendid job in acting the story, while all the warmth and comedy in the script was given beautifully.

Despite the splendid acting, scenery, costumes and makeup, there was a small drawback which people loving musical will notice right away. We do not leave the building with a song that just sticks in our head after leaving the theatre. I believe, every musical should have at the least 1 song which will make you think in your mind “I definitely must get the soundtrack to the musical”.

Still, I will definitely recommend “Wicked” for all who enjoy good cast and acting coupled with beautifully made costumes and scenery. Thumbs up!

Shakespeare may be a little biased towards theatres as he is playwright, still, if we think about it, whatever we do is actually a story of ourselves with other people among us being the other characters with interact with. We write our own play whether we realize it or not.

I value the arts and had joined theatre during junior high, which continued to college where I had taken some theatre classes. When my son was three years old, I began taking her occasionally to theaters where I would work part time. He was enjoying himself a lot while all the staff in the theatre knew and loved him present. He loved observing light sets, costumes and decorations for each play. When he reached four, he could watch a full play and started a debut in the children chorus of Seussical.

After which, she has then gone to shows in various regional theaters, community theaters, and even to Broadway. Not everyone thinks that theatres are important for kids, they may think that the kids do not like theater. Well, although they may not be interested directly towards art or music, they will start to get interested to the fancy colors of the costumes and decorations on stage. Sooner or later, they will enjoy the music.

During my last position in the theater, I handled productions with children performances throughout the school year, notably 5 to 6 times a year. It was then, hundreds of students will come by bus to the theater to watch. It was a first time experience for some, and being able to see their eyes light up makes me create a production with children performances worth it.

Theatre and the arts are important in the long term only to some of us. Still, although we know that science shelter, feed, heal and keep us alive, it is arts, culture and humanities that are the reason we stay alive. They are passed on throughout centuries and across generations. It is these arts that make us human and humane, and because of this it is important to pass on as early as possible to our children these arts, by taking them to your local community theatre.

Following the story of the demure, hopeful Roxie, we stumble through her pitfalls and accomplishments along her road to Vaudeville. Seeing things as they appear through her eyes, we are leant to give her pause and sympathy, even as she is dripping with lies and finally a full-blown ego. We see her first as the hopeful fan, gazing longingly at Velma Kelly, envious of her freedom to flaunt her sexuality and talent openly and receive such adoration for it. Roxie reaps justice as her own, discarding those she believes to be lying to her or useless in her plight for fame. At one climactic point she is so taken with herself that she nearly denies the help of Billy Flynn, basking in her fifteen minutes of fame and nearly blinded to the fact that she is close to looking death in the face.

The injustice in this work is both frequent and fully accepted by the characters, even as the consequences made blatant and the innocent prosecuted. This is an every-man-for-himself atmosphere and there seems to be only a candy-coated ending for only the most deceitful, those who came out ahead of the game for all their viciousness. Both entertainment and judicial standings are unmasked, stripped of their honorable, positive exterior. We are looking inside these two institutions, and the gears are indeed dirty, greasy and grinding against each other to make it all work. For those on the outside, unaware, it all appears to be polish and order.

Chicago certainly makes the most of it’s musical endeavors. Not only did the music emphasize points of importance and character development in the story, but it also moved the story along, becoming an integral part of the play. This added another dimension of potential to the music, leaving the audience to anticipate musical numbers to provide exciting twists and fast-paced action sequences. The music also becomes the main vehicle to Chicago’s sexual appeal. Throughout the play, in sequences where Roxie is fantasizing or making sense of someone she is meant to idolize, characters (including herself) are always depicted as unleashed sexual mistresses, obviously a repression she longs to break free of. She even puts Billy Flynn in her musings as surrounded by beautiful, scantily-clad women at his beck and call. It is hard to imagine Roxie’s experience unfolding without the aid of the musical performances, our source of knowing how she perceives what is going on inside and around her.

An exception to the dazzling numbers full of writhing body parts and illicit costumes is that of Amos and his burst of crooning. Here is the one guy who has remained faithful, honest and dependable for the duration. Even as the cruel intentions of others are dumped upon him, he carries on, nursing a broken heart and his own humble aspirations. In his song, we see that Amos recognizes his position in the world and that he isn’t happy about it. Though he feels it’s unavoidable, he mopes without ambition to inspire change. We see also a pitiful, submissive German inmate, who, without ability to communicate or scheme her way out as the others, met her demise as the only woman professing innocence and remorse. These two complete the picture, offering a view of the other side of the spectrum. Certainly not given enough exposure to warrant them character status of Roxie or even Mama, they are placed in the background where it seems the honest belong in this world where survival of the fittest seems to be the style everyone’s wearing.

The characters solidly depict the intertwining of preying upon the predator, of success and failure among those who would step on anyone that is naive enough to show an inkling of ability to aid or hinder them in their greed and self-absorption. Here we see not only the plotting and relationships of the antagonists, but also a brilliantly mocking statement about the media and frenzy that it can instill in the public. Our celebrity-centered culture chews so readily on what appears in the papers, spoon-fed to us until people of no credibility or talent can rise to a celebrity position in the hearts and minds of the majority. Ultimately it doesn’t seem to matter anymore why someone is in the news. Just as long as they are put within our daily sights, we can all be comfortable with knowing their face and affording them respect for it. We see Roxie practice her act to become the latest America’s sweetheart, poster child for the evils of gin and jazz. Velma meanwhile obsesses over attempts to top her rival at every turn, all unknown to the blinded public eye, which accepts their every notion.

Chicago thrusts forward a story that displays individuals working an aggressive charm and deceptive allure to achieve what they most desire. This is a rich flow of injustice and scandal, opening us up to see that things might not always be what they seem. Here is a playful romp through the cynical world where the innocent woman dies, the good guy is left alone and the murderers and swindlers are all smiling in the end, misted in glitter and class. Chicago is delivered with all the pizzazz and style that a scandalous story as this depends and flourishes upon. We can definitely draw sense from this pool of sequins and song to apply in our own experiences of celebrity acceptance, if only we had a chorus of nearly-naked dancers to aid in our ponderings.

This 1960’s era musical is based on the 1988 John Water’s movie and it is not a usual journey to take a movie and springboard a full-blown Broadway musical from it. The expressionistic journey usually takes a stage production and tries to transform it to fit the lens of the movie camera. Yet, this creative translation works and works well in both venues. I should say, I am bias seeing both the movie (actually both movies the new 2007 version and the 1988 version) and the stage production-the stage show is better than what fits through the lens of the movie camera.

The original Broadway cast of Hairspray, including its Tony-winning stars Marissa Jaret Winokur (Tracy) and Harvey Fierstein (Edna), has long been replaced by other actors and traveling road productions change cast members continually, but the show never loses its vitality. This is a show with a big infectious heart that takes on one of America’s biggest problems, racism.

The story tackles issues that were pervasive in the 1960’s and are still with us today even though in more subtle ways: prejudice about weight, race, the clothes you wear, the part of town you are from and big hair are still with us daily. This warm melodious musical makes the viewer think, while enjoying the highly entertaining dance numbers and odd giddy innocence of Tracy and her mother Edna’s approach to life.

Everyone will enjoy this stage production be it a road show or Broadway theater extravaganza. I like what one reviewer in Ottawa said of the touring production that appeared there:

“..Hairspray earns our applause with a smart script, a ton of talent and a perverse desire to bring an audience to its knees before it brings them to their feet.” Denis Armstrong -Sun Times

The present Broadway production is a high energy delight, but not quite as exciting as the original cast. Who can really ever replace Harvey Fierstein in any role he signatures? No, one. So you take what you get and enjoy the overall spirit of the show that manifests through each player and each song in the show. After all this musical won 8 Tony Awards in 2003, has been running on Broadway for 5 years straight and is now playing around the world! They must be doing something right and entertaining or people would not continue to buy out the shows.

If you are going to New York anytime soon, get your tickets to this show playing at the Neil Simon Theater. It is well worth the $60 -$200 tickets.

Film and television are permanent; a permanent record, something I am sure actors wish was not the case and could erase at times. But although audiences can derive their own meaning and interpretation from a film, they are still all watching exactly the same footage. The footage will never change, even if their interpretation does. Whereas the opposite is true for theatre. Every single night, a piece of theatre will change, albeit subtly, but change it will nonetheless. Just as the actors are tangible to the audience, so is the audience to the actor. And that is what makes it such a special experience for the actor also. They have an immediate response from the audience. It may not always be the response they were expecting, but it is a response. Different moments in the show will mean different things to different audiences. The audience and the actor are working together.

Each night, an audience brings with it a different energy, a different expectation. On top of that though, an actor has other variables to work with on a nightly basis. A script, fellow actors, their own daily woes, set changes, costume changes and lighting/sound cues. I am sure at some point in time, everyone has witnessed a moment during a night out at the theatre where something goes horribly wrong. And there is an anticipation, a nervous excitement as to how the actors will handle the situation. An actor forgets a line and an awkward silence follows. A set change does not quite happen and the actor finds himself unable to enter the stage or worse still, stuck on the stage. A piece of clothing falls off mid dance move (which has unfortunately happened to me), and the actor is forced to deal with it in a composed manner. Not to mention the all too common experience of one actor laughing uncontrollably whilst the other desperately attempts to keep the scene flowing in some manner of normality and professionalism. The audience is extremely aware that they are witnessing something unique and potentially unlikely to happen again. It’s thrilling and memorable because it is real. It is immediate. The actor must adapt. The audience is witness. The show has changed.

I will never forget a tour of “Cabaret” that I was performing in around Australia, and on September 11 2002, there was a bomb threat in our theatre in Sydney. The second act did not commence and instead the cast was whisked away in full costume, to a nearby hotel, whilst the audience was taken out into the street. When the second act finally began over one hour later, the half of the audience that stayed were desperate for comic relief. For those who are unaware of the story of Cabaret, the second act takes on a rather dark tone as the rise of Nazism takes its toll on the lead characters and they are forced to face an unknown future. It hardly provided the audience with the opportunity to laugh. The story also brought home the reality of war, and what we as a society at that time, were facing once again… an unknown future. However, the audience as one, laughed at any moment they could, appropriate or inappropriate, and the result was a dramatically different second act. We as a cast found ourselves adapting slightly to their energy. Never a word was spoken, but a need was understood.

The same can not be said for film. We can not change a film even subtly. When we watch a film, we are seeing the best take. We are watching something that has been manipulated. The chance of something going technically wrong is impossible, because unless it is the ulterior motive of the film, it will inevitably end up on the cutting room floor. It does not help or further the storyline. And although a theatre director would also like to remove anything from going wrong, because at times it also does not help the storyline, they can not. And that is why the theatre is such a beautiful art. It can not be manipulated or controlled. Everything has been done to ensure the piece runs as smoothly as possible but once the curtain goes up, it can no longer be interfered with. As the famous saying goes, the show must go on.

It seems fitting to end with a quote by Oscar Wilde. “I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.”

First thing you could do is look around your town for a drama group. This will help you get a foot in the door at least. Look in the newspapers and on-line to find one that fits around your daily life. Many drama groups get together in the evening and weekend. So going to one shouldn’t be a problem. This will build up your confidence, teach you a few basic acting tips, and help you on your way to becoming an actor.

Secondly start off small, but dream big. Sitting around waiting to be discovered for a big a-list movie to come along is very, very, very rare. The majority of actors read and try to improve their skills with smaller jobs they have got by themselves. Read novels, plays, and scripts anything you can get your hands on. That way you can explore different characters and story lines.

Join an extra agency to get experience on a set and on stage. Many productions on stage just want a few people standing in the background to make the scene seem more real to the audience. It’s the same for films. There are so many actors in short films, TV series, and feature length films etc that are there to get experience. Try this route and you may also get paid.

The fourth step would be to create a resume. All actors need a resume, even if you have no previous experience. Write your name, contact details and any skills that you have. Skills such as horse riding, skiing, Tai kwon doe etc. All these examples will make you stand out. Also include your interests and hobbies as well as your special skills. There are many places on line, which help create a resume.

Lastly get a head shot done. This will be the picture that you send on to potential employers. This is what you are going to sell to people. Try to make sure the head shot shot is just that. A shot of your head full on so the onlooker can see all of you.

So there are your 5 steps, just to sum up
1.Join a drama group
2.Read and get to know different characters
3.Join an extra agency
4.Create a resume
5. Get a head shot done.

General popularity is probably the most obvious, a musical has to have general appeal to a wide variety of audiences and must have made a significant amount of tours to be considered. Real life applicability relates to the ability of a musical to expose and explore real human emotions, teach life lessons, and be transposed (if just in interpretations) to real situations. For musical enthusiasts, the shows they are most sentimental about may be shows they had some part in performing in, even in small-scale, local productions; so the enjoyment artists get out of performing musicals comes in to play. Like popular movies, popular musicals often get referenced in pop culture and in conversation, and recognizing those references indicates a significant impact the musical had on its viewers. Finally, many musicals have traditions or stories behind the performance or plot, and I think these background stories add character to the show, enough that it may change the value of the show in this respect.

Jonathan Larson’s “Rent” tops my list, with a tear-jerking story behind the story and plenty of real life applicability. “Rent” depicts the lives of several young, starving artists in the streets of New York, struggling with their values, love lives, sexuality, figures of authority, and HIV. The phenomenal soundtrack includes the flagship song “Seasons of Love”, emotion-drenched love songs and fun, spirited dance tunes. The movie “Rent” is a good reproduction of the fantastic Broadway show, but nothing beats live theater. The movie “Team America” references the musical in an ironic parody sketch called “Lease” featuring a song stating “Everyone has AIDS. AIDS, AIDS, AIDS!”

I can’t say enough about the musical “Wicked”, which is based on the story of the “Wizard of Oz” but with a comical, clever twist. Wicked soared in popularity, probably because of its relation to real life issues and the attention it commands with its very presence; before even entering the theater, witty “Wicked” paraphernalia makes show-goers and passers-by chuckle at the ironic humor. While it takes place in a completely fictitious world, it deals with realistic issues such as discrimination, heartbreak, gossip, social standards, and moral values. The lyrics of “Defying Gravity” and “Dancing Through Life” are taken literally in the show, but taken figuratively, the show inspires the lives of its fans.

One of the best aspects of live theater is that the performance is not limited to the stage. Even at a conceptual level, I love “Phantom of the Opera” for its adaptation of the entire theater as the setting of the show. Rather than being in a theater watching a show on stage, audience is in a theater in which we are led to believe the story is actually unfolding. The special effects in this musical are breath-taking, and frightening at times, and definitely make it a joy to watch and presumably to perform. Well-known showtunes and life applicability also play into the appeal of “Phantom”. It’s no wonder this musical is incredibly popular. Don’t be content with just watching the movie, the live performance will absolutely blow your mind!

I would include “Pippin” in my list, which may be a significantly more sentimental choice than an objective one, but it is based on the deeply-rooted character of the show. This specific musical may not win Academy Awards, but it is loaded with performing traditions and nuances that an unknowledgeable audience may never pick up. For example, the main character, Pippin, never wears shoes during the performance. Also, the musical has multiple alternative endings, and the director’s choice of ending almost completely defines the mood throughout the entire musical. I’ve seen multiple performances of “Pippin”; one was very bright, bouncy and fun; another was more traditional, emphasizing drugs, sex and power as driving forces of the character’s motives; and the one I performed in was dark, gloomy, and on the verge of being evil. For these reasons, I would say “Pippin” is one of the most diverse musicals, and therefore is more intriguing and interesting to see and perform. While it may not be as wildly popular as the other shows on this list, “Pippin” is very deep, and it definitely can have real life applicability.

“Go, go Joe!” rings out in my head as I think about “Joseph and the Amazing Technicolor Dreamcoat”. Based on a Bible story, this energetic, charming and heartfelt show is packed with catchy tunes, funny references, and amazing special effects. While it has been a very popular musical, I wouldn’t rate it high in real life applicability; it may seem ironic (and blasphemous) to say a Bible story doesn’t have a good life lesson, but I think the issue is in the presentation of the story, not the story itself. The musical doesn’t relate to common, realistic emotions as much as some of the others on this list. That issue aside, “Joseph” is a thrill to perform in, and the show has a huge presence and character.

No list is complete without “Les Miserables”, likely one of the most complex and drastically serious musicals of all time. Taking place in France in the early 19th century, the musical portrays the hardships of a multitude of characters struggling with poverty, crime and revolution. There are tons of characters to keep track of, and so many motives and plots; it is very different than watching Dorothy try to get back home to Kansas. For first-timers, I would suggest you read a full synopsis of the plot before going to see it. Nevertheless, the artistic value and life applicability of this musical, plus its huge following and ease of referencing, make “Les Miserables” and must-see. If you are a reader, the musical is based on a very thick book of the same name (written by Victor Hugo), and the musical is just as complex as the book. From the more popular song “Castle on a Cloud”, to references to prisoner 24601, “Les Miserables” is referenced in pop culture more often than many people realize. I was watching “South Park” the other day, and there were obvious references scattered through the episode “Helen Keller the Musical”. I can’t even imagine how awesome it would be to perform in “Les Miz”, as it’s called for short; I would guess the acting would be emphasized more than in the upbeat musicals.

My honorable mentions would be “Miss Saigon” for its artistry and drama, “Cats” for its clever choreography and popular showtunes, “Oklahoma” for its traditions and story, “West Side Story” for its reference recognition and popularity, “The Music Man” also for its reference recognition and popularity, “Pirates of Penzance” for its character and performing enjoyment and “A Funny Thing Happened On the Way to the Forum” also for its character and performing enjoyment.

Looking back on this list of the best theater musicals, I am struck by the variety of seriousness, appealing features, and contexts on which the musicals are based. “Wicked” is a twist on a commonly-known story made movie, “Les Miz” is based on a Victor Hugo book, and “Joseph” is based on a Bible story. On the contrary, there are musicals based on similar themes that I would argue were catastrophic failures; “Jesus Christ Superstar” was ridiculous (I know there is a huge fan base, and I apologize deeply but I just didn’t get it), and “Legally Blonde” was a complete joke. It is apparent that a musical’s success is very difficult to determine; there are no consistent factors that separate hits from misses. However, the few characteristics that I’ve used here in selecting the best musicals, general popularity, real life applicability, enjoyment of performing, recognition of references, and character of the show, may also be used to indicate a show’s potential.

The story is the same from the Movie to the Musical: A very typical sorority belle, Elle Woods of Delta Nu is in love with her boyfriend, Warner Huntington III. As she is getting ready to say yes to his proposal, Warner is intent on breaking up with her, insisting that as he is going to Harvard to become a lawyer, he needs someone Serious. After a small crying jag, Elle rallies and is back on her feet, determined to get in to Harvard and show Warner that she is What You Want. With quite a bit of effort and sacrifice, and a great dance number instead of a personal essay, Elle Woods makes it into Harvard.

The Harvard Variations introduce the audience to several of her classmates, mostly self-absorbed and self-important individuals, with the exception of Emmett Forest. Elle and Warner have a class together, Criminal Law 101, taught by Professor Callahan, who tells them that only the good lawyers are sharks, and to watch for the Blood in the Water. He then reminds them that he will select four sharks from their class to intern with him. Vivian, Warner’s new girlfriend, soon kicks Elle out of class. Elle and her Greek Chorus (the girls of Delta Nu) are Positive that Elle can win back Warner, but he walks away. Desperate, Elle wants to try something she has never done before: she’s going to dye her hair brunette. Talked out of it by her salon dresser Paulette, they commiserate about their lost loves, while Paulette sings of Ireland.

While at the salon, Elle is invited to a ‘costume’ party hosted by Vivian. However, when Elle arrives, dressed as a playboy bunny, the party is not in costume. Elle perseveres and tries to make Warner believe she is Serious, to no avail. Later, crying on a park bench, Elle is found and comforted by Emmett, who tells her that she needs to get a Chip on her Shoulder to succeed. Elle tries it, and tutored by Emmett, Elle begins to succeed in class. When the new interns are announced, Warner and Vivian are both selected, and Warner takes the opportunity to propose to Vivian. Elle is ready to give up, until Emmett tells her that she was also selected as an intern. Elle realizes that she feels So Much Better.

Act Two starts with Brooke Windham, formerly of Delta Nu, now a workout star of Whipped into Shape, being accused of murdering her sixty-year-old husband. She claims to have an alibi, but will not tell it to Callahan or any of the interns, until she finds out that Elle is a Delta Nu. Brooke soon reveals her alibi, that she was having liposuction, but that if it were made public she would lose her fitness enterprise. Callahan, disgusted with Elle’s secrecy and Emmett’s attempts to defend her, criticizes them both and tells them to take the rest of the day. Elle takes Emmett shopping, guiding him to look good and Take it Like a Man, as the audience realizes that Emmett is falling in love with Elle.

Later, at the salon, Paulette tells Elle that she is falling in love with the new delivery guy, Kyle B. O’Doyle, but that she doesn’t know how to get him to notice her. Elle, and several other salon patrons, teach Paulette the Bend and Snap 99.99 percent effective on strait men. Paulette is reluctant, but tries it on Kyle, only to ’snap’ his nose. At the trial, Brooke’s pool boy testifies against her, but Elle, accidentally doing the bend and snap in front of him, realizes by his non-reaction that he is gay. Callahan doesn’t believe her, resulting in a discussion There, Right There! of how to tell if someone is gay or European. Emmett manages to crack him, and all realize that he is gay and European.

Over drinks later, they toast Emmett and Elle, and Warner is sent away. Callahan speaks highly of Elle, and asks her to stay as everyone else leaves. He hits on her, kisses her, and when she refuses his offer, he fires her, saying the only reason he hired her is for her body, not her mind. Elle is devastated, and decides to leave, go home and be Legally Blonde. When Emmett tries to stop her, she tells him what happened, and locks him out. When Elle goes to tell Paulette goodbye, Vivian stops her, and tells Elle that she needs to go back to the case. Elle agrees, and leads her parents, the girls of Delta Nu, and everyone else in a parade back to the courtroom, where Brooke fires Callahan and makes Elle her new legal council, helped by Emmett. Elle questions Miss Windham, the stepdaughter of Brooke. Elle breaks her defense and wins the case. Elle becomes Valedictorian and Paulette tells what happens to everyone as Elle sings to Find My Way. Finally Elle proposes to Emmett.

This musical is fun, and very positive. Elle Woods undergoes a dramatic change from blond bimbo to a cool and professional lawyer with a great fashion sense. The music is fun and upbeat, keeping the story going and making audiences smile at the same time. Many of the characters start out as stereotypes, but most change into individual personalities by the end of the show. There are lots of laughs, and there is a wonderful message about being yourself, no matter the obstacles. It’s a great musical for girls of all ages, and guys will like it too. I highly recommend this musical as a break from the ordinary. After all – it’s fun to be blonde!

A story of young artists, Rent employs eight main characters. Mark is a starving artist who embellishes on his film making. Roger is a starving musician that made choices along the way that resulted in him contracting HIV. Benny is a fellow Bohemian, once friend, and is now the landlord. Angel is a cross dresser who enjoys playing the drums; he also has contracted Aids. Tom Collins, or Collins, is a traveling university professor of philosophy who falls in love with Angel, and also suffers from Aids. Mimi is a night time exotic dancer and drug addict, who also has contracted HIV. Joanne is a lesbian lawyer who falls for Maureen. Maureen is a bisexual starving artist, who once dated Mark and is now pledging her future to Joanne.

And who can even mention the musical Rent without mentioning Jonathan Larson? Larson exemplified his unique writing style when he wrote Rent; a musical about alternate lifestyles, drug addiction, Aids, and death. In fact, Larson was so adamant towards this musical that he waited tables at a diner while composing songs for the musical. It is a rock musical written with a Bohemian twist, and depicting the lives of individuals affected by HIV and Aids. It is a story about love, life, and friendship. It is a story of hidden hope and the contributions that all individuals give back to society.

Each character had dreams, some were shattered and some were not. You will see the lives of the characters blossoming and then some plummeting. You will witness the effects of living the lifestyles that these characters lead. You will be overcome with excitement as the cast dances and sings La Vie Boheme; you will fall in love once again; you will be filled with sorrow when death is knocking. You will be taken in and emotionally moved by the intricate details that Larson implemented into this musical web. The musical Rent is a must see for those that wish to make a difference in their individual life and those who wish to change our future!