The opposite of war isn't peace, it's creation. With this immortal toast, Mark Cohen kicks off the Act 1 finale of Rent , the joyous, rousing tribute to bohemian living that is one of the most mind-boggling assortments of kiss-off lyrics and listing of cultural references ever set to music.
It evolved as Jonathan Larson crafted the show from developmental stagings to Off Broadway to Broadway, but the song always remained an essential part of the fabric of Rent. So that scene was in the play. I gave [Jonathan Larson] an outline in which they were all at the table, all together, all meeting each other but that was his idea to have that song there. TIM WEIL Musical supervisor : Jonathan printed out the original score in a musical notation software, and I remember seriously looking at those lyrics just trying to make them out so I could understand them.
I was completely knocked out immediately. It was really exciting that I was going to get to be a part of a show that was putting that out into the world at a time when people weren't declaring such things so boldly and joyfully. I just love the re-embracing of those words that are used as epithets. GREIF: One of the first things I did when I got to really look at the lyrics was a little research on all of the people who were named as inspirations in the song.
It was talking to a multicultural part of me. That's why I got hired. I didn't get hired because I was the best. I got hired because I knew exactly what it was that they were talking about. RAPP: I was familiar with almost of all them.
I remember 8BC was one I needed to discover for myself. There was a whole packet that was put together by our dramaturg and Michael Greif and Jonathan. WEIL: We actually did a big glossary, like a handout, of who all these people were, what all these things are, [why they] matter, and the only person or thing I didn't know was the word "entropy.
He wrote it all out. He was amazing. He had a whole backstory Bible for us. I still have that somewhere. RAPP: I do remember, during the rehearsal process, as I was tooling around New York, being on subway platforms and just going over the lyrics as I was waiting for the train. Part of my job was to make it feel like something that's an interlude in a much larger package, but still a song by itself.
Now it's a single piece, as opposed to a really great song and then a love ballad and then an epilogue. GREIF: [Cutting it down] was a wonderful combination of which one of those inspirations meant the most to Jonathan and getting Jonathan to understand in a lot of ways that less could be more. It was just another list of things. As Mark starts to sing and dance, the others follow. Our wonderful choreographer Marlies Yearby found a real joy in just the presentational nature of that first image.
It wasn't about the furniture; it was about us and that was very freeing. You have so much going on in the story that is revealed through that song. There was a little danger and a little grit involved until he's defeated, and then, there's just a celebration of his defeat. It's something they all do. Everybody knows it sort of like the hustle. The first thing is to communicate that we're going to do the dis dance to Benny. I never tried to make her percent correct because she had an organic way of just being herself in it.
It felt so completely real. I didn't want perfection. GREIF: It was really Anthony's best opportunity to have a good time when he spends so much of the musical worrying and fretting and taking care of everyone. It was his opportunity to really let go and show off a little.
A lot of that staging came out of his really wonderful and vivid imagination. If you want me to be a spaz, I'll be a spaz. I capitalized on that and pulled the choreography to that place. I encouraged his natural offbeat way of moving and to this day love how his way of moving informed the character of Mark.
PASCAL: The stuff we're all doing in sync before we get up on the table, with the shoulders and the pointing, all that stuff was all choreographed by Marlies. But once we were all up on the tables, that was all sort of freestyle. It's a rebellion. Post meanings U. Tick Tock. Your Man. Pretty Boy.
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You are not being conservative if you're jumping up on the table and dancing. RAPP: As it evolved, she started to sculpt and shape the peaks and valleys, like when people were high or low, but so much of it was meant to be our physical expressions of how we move to music. She would say, "How does this make you feel? Tell me what this sound makes you do. As the number builds, it devolves into even more pointedly lewd gestures. The group climbs onto the table, often breaking into pairs doing distinctive choreographic interludes.
I will give them samples of what I'm talking about, or I'll give them a series of images that I want them to improvise inside. PASCAL: I'm not a dancer like the rest of the people in the cast and so left to my own devices, I just wanted to look as non-silly as possible and stay out of everybody's way. I also thought that approach worked for the character too.
It didn't make sense to me that this character would have been some kickass dancer. Both Daphne and I got on the table. We played a mirror game initially with each other, when we first started playing with it. It just turned into that [hand-clapping] sequence. I'm like, "That's just how I feel inside. RAPP: Some of the lewd gestures got more elaborate in future iterations. In our original thing, it wasn't a lot of that. It was more restrained in that it was more about the exuberance and the joyful nature of it.
He loved to slip and slide around on his feet. Those moments where he jumps out in front of the table, and we're celebrating; he's moving his feet heel-toe, heel-toe. His feet were unique, and I pulled that out every time.
If I were all the way stage right on the table, I knew and felt what was going on all the way stage left at the end of the other table. PASCAL: You can't half-ass it through that number, if for no other reason than if you're not completely focused and on your game, someone's going to get hurt. There were lots of times where we would grab each other from falling off the table or stop one another from getting their fingers caught in between the tables because they would start to separate during the number.
RAPP: When we were in the thick of our eight-show-a-week grind, that number was the hardest physically. If we were at all tired, it was a bear. It never stopped us from giving percent, but it was like a mountain to climb.
Let's just blow this out, and then we get a nice minute break. Each of the cast then gets a moment to strut their stuff individually, with Roger playing a lick on the guitar and Angel doing the catwalk. I was drawing from Max, who was an incredible vogue-er.
I had to take that whole film, literally all the energy from all the ball footage, and put it in that one little itty-bitty moment. It was very easy to move that into the language of the musical. It could be as iconic as f but the fact that that happened is what made it. I work with a lot of young actors now, and many of them find their activism through Rent.
It's a victory chant. Because it's true, creation is such an act of love. I can now in hindsight look back and understand it's such a joyous, fun number to watch. The audience wants to be part of that, which is ironic because this is a group of people who are marginalized from everybody else. RAPP: It so perfectly captures one of the major themes of the show, which is that in the face of the most difficult circumstances, it is still possible, and essential, to come together as a community.
And to remember that this moment right now is the one that matters the most. Save FB Tweet ellipsis More. Image zoom. Credit: Joan Marcus. Rent Stage. RAPP: That became such an iconic image of the cast. Rent Live : How has the musical aged since ? Close Share options.
All rights reserved. General Comment trisno marang sliro. General Comment Not all of the things you were doing at 22 seem pointless many years later. But those bad or mysterious guys, always with a good excuse, are not what you're looking for anymore. You may still like to party and let go, but you do want to listen to them and care about those who listen to you and not minimize your priorities.
You start to appreciate those adults that after some bad experiences are still positive and have faced those moments with grace, without fear and are now focusing on the present, without letting the past keep them prisoners of what once was or of some mistakes. You relate to people that can put their own needs and ego aside for a while and care about you, making you dream again as well as making the dreams as real as they can.
General Comment Wait But she is growing up.. Watch both videos back to back. Rebecca's complete inexperience and lack of self awareness inspires pity, while Taylor's practiced, yet inept vamping is embarrassing on a completely different level. Rebecca's lyrics are funny, albeit unintentionally so, while Taylor's lyrics are the kind of vacuous fluff used to sell soft drinks to teenagers.
I just listened to "22" and I already forgot the tune. And whose party would you rather be at? OK, I'd rather be at Taylor's party too, but at least Rebecca has one black friend. Flag mjmora87 on July 21, Rate These Lyrics. Log in now to add this track to your mixtape! We do not have any tags for 22 lyrics. Why not add your own? Log in to add a tag. More Taylor Swift Lyrics. SongMeanings is a place for discussion and discovery.
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