Guido Contini is the energetic centerpiece of the musical Nine. He is a celebrity superstar, an actor and movie maker who writes, directs, performs in, and subtitles his own movies. He is a playboy control freak with charming film-biz charisma who compartmentalizes his life’s worries and deals with problems as they arise. The show is his world as he sees it– a thrilling voyeur’s vantage into the mind of a director of peerless talents.
In the face of his ever-fluctuating work atmosphere, seemingly the most constant thing in Guido’s life is love, and a never ending assortment of it, in many various forms. Through the show we meet his four loves, each occupying a different role in his life: His wife, his mistress, his muse, and his mother.
Continue reading “Love, Rejection, and Guido Contini”
A while back, I saw a Facebook post where some theatre folk were sharing their theater culture’s pre-show traditions. These are always wildly different, but invariably bizarre, fun, and full of energy. The comment that made me stop and think was one about a high school’s pre-show activities for their production of Rent. The poster said they typically did some fun sort of hype-up activity, but didn’t do it for their more serious shows– Rent included– because it wasn’t appropriate.
This took me off-guard. Sure, Rent is a serious show, but it’s never one that I’ve considered so overly serious that any celebration beforehand is bad. In fact, after some thought, I’d wager even the opposite- that Rent is serious, and you must celebrate. The seriousness of Rent isn’t the most important part of it. Rent is about much more than dying of AIDS and battling drug addiction. These are present and powerful entities in the show, but they are never the most important piece. Rent is, at its core, a celebration. Rent’s message is not one of sorrow and regret, but one of celebration in spite of, and even of, death itself.
Continue reading “Joyful Celebration in the Face of Death: Jonathan Larson’s Rent”