Forget regret and experience the wonder that is RENT

Mind blowing performances, overflowing theaters, and profound social commentaries - these are the universal expectations of any play. However, in addition to common expectations, what is to be anticipated when you see RENT is the unexpected. The hopes of the audience are fulfilled in this play and one leaves the theater actually enlightened. In today's word, that is definitely something unique. "Viva La Vie Boheme" captures the essence of the entire play, which follows a group of friends and lovers living "at the end of the millennium." The diverse group includes universal representations of every aspect of society, from an intellectual philosopher (albeit an anarchist) to an exotic dancer. The intertwined relationships of the group cover all aspects of love and life including the controversial issues of homosexuality, drug use, and AIDS. Furthermore, this play embodies the 1990s vibe: living for the sake of artistic expression and being defiant towards all conformity. "There's only us / There's only this / Forget regret or life is yours to miss / No other road / No other way / No day but today."

When my friend and I walked into the Nederlander Theatre we were surprised to see just how tiny it was - there wasn't even room in the audience for a pit. The stage was simple, set up with folding chairs, platforms, spiral fire escapes, and of course, Fender guitars. To the far left of the stage the musicians were a part of the "grunge/boho" set. If anything, the fact that the musicians were visible only added to the pulse of the show. Try and picture it: a jam-packed theater and a cast decked out in outfits similar to Kurt Cobain and his infamous green sweater, as well as plenty of plaid and in the case of the Mimi, the exotic dancer, leopard leggings. The feel of the theater personified the communal social commentary the play is known for, and by the end I felt like I had just lived an entire year in the Doc Martin's of these bohemians.

Think of your favorite picturesque scenes in the movies (refer Audrey Hepburn as Holly Golightly, standing in front of Tiffany's at six in the morning, if you must). Well, RENT is a culmination of all those favorite scenes. One specific view that really pulled at my heart was when Roger, the tortured musician, stands alone on stage and the spotlight envelopes him as he belts out "One Song Glory."

Equally amazing is the scene in which Maureen, the performance artist, puts on a one woman act protesting the eviction of Avenue A's tenants (for your information, this is where the title "RENT" comes in. All of these people are just trying to pay their rent; it's that simple, and still, that complicated). During this scene, the audience actually began acting as though they were a part of the protest. The voices of these actors were unreal; I was especially impressed with Crystal Hall's solo during "Seasons of Love." I constantly had chills, and the energy the performers emitted was something inescapable. Their emotions were reflected in the audience.

At the end of this play that deals so closely with love and death, poverty and "selling out" the audience gave a standing ovation to the cast and walked from this tiny theater into the bustling streets of New York City. I stared down the street and noticed the art on the walls and the eccentricity of it all and realized just how strongly RENT had affected me. If I hadn't seen the play I would have never known what I was missing but now that I have, I am so in awe of the incredible message RENT sends through beautiful music and a moving storyline.