/ writing samples
Small Human Beings Shadowed in Darkness
Record of a Tenement Gentleman stands as one of Yasujiro Ozu’s most concise and linear films, but this does nothing to weaken his incisive observations of family, humanity, and honesty. The protagonist, Otane, is left to take care of an ostensibly homeless boy named Kohei, and throughout the film she reconciles with her desire to raise a child of her own. The character development in the film is much more observable than is typical in Ozu’s cinema, and the events are more dramatic. These sorts of ‘small stories’ make up the majority of Ozu’s body of work, but none are told in as touching and caring a way as Record of a Tenement Gentleman. It is a story of helping one’s neighbors, of building community, and of growing as a person, and it beseeches the audience to look into themselves for the flaws that Otane learns to address.
The film is also tinted by its contemporary economic state, as the story could not necessarily be told in a time of prosperity (particularly the final sequence at the statue of Saigo,) and even if it were, it would lack the same sense of generosity that gives it such humanity. It is a story of people with very little sharing what they have to create a community, and using their meagre resources to help those who have even less. Even the characters in the film who appear irregularly are part of this community, and as such they are viewed by the audience as fundamentally kind. Otane would be much more difficult to relate to if she were in less dire financial straits, as she would have no reasonable justification for her incessant crankiness. In the film, however, the audience watches her contradict her own bitter words with actions of kindness toward Kohei, and they are allowed to follow her in her transformative journey.
The conclusion of the film is bittersweet, as is typical with Ozu’s cinema, but Record of a Tenement Gentleman is much more sweet than bitter. Otane must return Kohei to his father, but his father is polite, honest, and loves his son. Otane learned to appreciate the boy, and weeps at his departure, but she explains that she weeps out of joy that he is returned to his father. She is disappointed that he is leaving, because she learned to appreciate his presence, but she is overjoyed that he wasn’t abandoned by his father. The last scene, as well, involves Otane resolving to adopt another homeless boy, thus completing her character arc, and allowing her to help someone less fortunate than her--a driving force behind the sense of community and support that pervades the film. Ozu often deals with a familial sense of duty, but less often with a sense of unfettered generosity. Record of a Tenement Gentleman is an unabashedly optimistic film, which is a departure from Ozu’s traditional worldview. Despite the financial troubles of the characters and the neighborhood, they display good spirits, and appreciate what little joys they have, and they support one another in a way that implies much more than simple duty. They love each other, in their own unique way, and by the end of the film, Otane learns to love Kohei as well.
RENT Performance Guide
Introduction
RENT, a rock musical by Jonathan Larson, tells the story of a group of impoverished young artists struggling to make their marks in New York City's East Village, under the shadow of HIV/AIDS. Inspired by Giacomo Puccini’s opera, La Bohème, the show opened on Broadway in 1996 and its discussion of important social issues left an indelible mark on popular culture. In 2005, the motion picture adaptation of the musical premiered, featuring most of the original Broadway cast members.
The Show
RENT tells the story of a group of friends living in Manhattan’s East Village, attempting to make art, thrive, and find love. Mark, a filmmaker, and Roger, a struggling rock musician, share an apartment, constantly fighting with their friend-turned-landlord, Benny. Tom Collins, a college philosophy professor and one of their good friends, finds love in the alley near their apartment after getting mugged while on his way to visit them. Angel, a street-drumming drag queen, discovers him and nurses him back to health. Mark struggles with the fact that his girlfriend, Maureen, recently left him, and begins a tentative friendship with Maureen’s new flame, Joanne. Collins, Angel, and Roger all suffer from HIV, and their struggle and support for each other is another important aspect of the story. RENT does not shy away from difficult topics and deals with them in a delicate and powerful manner, reminding audiences just how important it is to appreciate the time shared with loved ones, to take nothing for granted.
History
Larson began collaborating with Billy Aronson in 1989, after Aronson had the idea to create "a musical based on Puccini's La Bohème, in which the luscious splendor of Puccini's world would be replaced with the coarseness and noise of modern New York." Larson worked on this project as a composer, and the two men wrote several songs, some of which were included in the final show. After several years, Larson became enamored with the concept and asked Aronson if he could use Aronson's original idea and transform it into his own vision. After Aronson agreed, Larson spent the early 1990s focused on composing RENT. During the course of its production over several years, Larson wrote hundreds of songs and made many drastic changes to the show before choosing 42 songs for the final version.
The first preview of RENT became a sing-through of the musical in Larson's memory, after Larson’s unexpected death the morning of RENT’s off-Broadway premiere, as friends and family gathered at the New York Theatre Workshop to honor his life and work.
The show was greeted with enthusiastic reviews by both critics and audiences. It met with great success during its off-Broadway run, selling out all its New York Theater Workshop performances. RENT moved to Broadway's Nederlander Theatre on April 29, 1996. An overwhelming demand for tickets made the move to a larger theater a necessity.
Inspiration and Ideas
Giacomo Puccini's opera La Bohème made its world premiere in 1896, a century before RENT's, and many of RENT’s characters and plot elements stem directly from the opera. In RENT, HIV/AIDS replaces tuberculosis, the plague of Puccini’s opera, and 1800s Paris is replaced by New York's East Village in the early 1990s. Although they are not all direct adaptations, the names and identities of RENT's characters heavily reflect Puccini's original characters.
Larson incorporated many of his own stories in the work. He lived in New York for many years as a starving artist. He lived in a fifth floor walkup and would toss keys to visitors. He lost a girlfriend to a woman. He accompanied his best friend to AIDS support group meetings. He sacrificed a life of stability for his art, and shared many of the same hopes and fears as his characters.
Jonathan Larson
Larson was involved in performing arts from a young age. He played several instruments, and performed in the school choir. Larson’s first musical influences were primarily rock artists, including Elton John, The Beatles, The Doors, and The Who. He also found inspiration in the classic composers of musical theatre, particularly Stephen Sondheim.
Larson attended Adelphi University in Garden City, New York with a full scholarship as an acting major. He also began composing music during this time, writing for small student productions. Later, he created the score to a musical entitled Libro de Buen Amor, written by Jacques Burdick, Larson's mentor during his college education.
Larson later moved to Lower Manhattan, where he lived with various roommates. For nine and a half years before the production of RENT, Larson worked as a waiter on weekends, and worked on composing and writing musicals during the weekdays.
Larson died of an aortic dissection, believed to have been caused by undiagnosed Marfan syndrome, on the morning of January 25, 1996. Medical investigators concluded that if his ailment had been properly treated, Larson would have lived to see the worldwide success RENT has become.
Introduction
RENT, a rock musical by Jonathan Larson, tells the story of a group of impoverished young artists struggling to make their marks in New York City's East Village, under the shadow of HIV/AIDS. Inspired by Giacomo Puccini’s opera, La Bohème, the show opened on Broadway in 1996 and its discussion of important social issues left an indelible mark on popular culture. In 2005, the motion picture adaptation of the musical premiered, featuring most of the original Broadway cast members.
The Show
RENT tells the story of a group of friends living in Manhattan’s East Village, attempting to make art, thrive, and find love. Mark, a filmmaker, and Roger, a struggling rock musician, share an apartment, constantly fighting with their friend-turned-landlord, Benny. Tom Collins, a college philosophy professor and one of their good friends, finds love in the alley near their apartment after getting mugged while on his way to visit them. Angel, a street-drumming drag queen, discovers him and nurses him back to health. Mark struggles with the fact that his girlfriend, Maureen, recently left him, and begins a tentative friendship with Maureen’s new flame, Joanne. Collins, Angel, and Roger all suffer from HIV, and their struggle and support for each other is another important aspect of the story. RENT does not shy away from difficult topics and deals with them in a delicate and powerful manner, reminding audiences just how important it is to appreciate the time shared with loved ones, to take nothing for granted.
History
Larson began collaborating with Billy Aronson in 1989, after Aronson had the idea to create "a musical based on Puccini's La Bohème, in which the luscious splendor of Puccini's world would be replaced with the coarseness and noise of modern New York." Larson worked on this project as a composer, and the two men wrote several songs, some of which were included in the final show. After several years, Larson became enamored with the concept and asked Aronson if he could use Aronson's original idea and transform it into his own vision. After Aronson agreed, Larson spent the early 1990s focused on composing RENT. During the course of its production over several years, Larson wrote hundreds of songs and made many drastic changes to the show before choosing 42 songs for the final version.
The first preview of RENT became a sing-through of the musical in Larson's memory, after Larson’s unexpected death the morning of RENT’s off-Broadway premiere, as friends and family gathered at the New York Theatre Workshop to honor his life and work.
The show was greeted with enthusiastic reviews by both critics and audiences. It met with great success during its off-Broadway run, selling out all its New York Theater Workshop performances. RENT moved to Broadway's Nederlander Theatre on April 29, 1996. An overwhelming demand for tickets made the move to a larger theater a necessity.
Inspiration and Ideas
Giacomo Puccini's opera La Bohème made its world premiere in 1896, a century before RENT's, and many of RENT’s characters and plot elements stem directly from the opera. In RENT, HIV/AIDS replaces tuberculosis, the plague of Puccini’s opera, and 1800s Paris is replaced by New York's East Village in the early 1990s. Although they are not all direct adaptations, the names and identities of RENT's characters heavily reflect Puccini's original characters.
Larson incorporated many of his own stories in the work. He lived in New York for many years as a starving artist. He lived in a fifth floor walkup and would toss keys to visitors. He lost a girlfriend to a woman. He accompanied his best friend to AIDS support group meetings. He sacrificed a life of stability for his art, and shared many of the same hopes and fears as his characters.
Jonathan Larson
Larson was involved in performing arts from a young age. He played several instruments, and performed in the school choir. Larson’s first musical influences were primarily rock artists, including Elton John, The Beatles, The Doors, and The Who. He also found inspiration in the classic composers of musical theatre, particularly Stephen Sondheim.
Larson attended Adelphi University in Garden City, New York with a full scholarship as an acting major. He also began composing music during this time, writing for small student productions. Later, he created the score to a musical entitled Libro de Buen Amor, written by Jacques Burdick, Larson's mentor during his college education.
Larson later moved to Lower Manhattan, where he lived with various roommates. For nine and a half years before the production of RENT, Larson worked as a waiter on weekends, and worked on composing and writing musicals during the weekdays.
Larson died of an aortic dissection, believed to have been caused by undiagnosed Marfan syndrome, on the morning of January 25, 1996. Medical investigators concluded that if his ailment had been properly treated, Larson would have lived to see the worldwide success RENT has become.
A Salute to the Eagles
Hotel California Brings Classic Eagles Hits to Popejoy Hall
ALBUQUERQUE, NM - Performing at Popejoy Hall on Friday, April 12, 2019 at 7:30 pm, the five talented musicians of Hotel California blend their extraordinary vocal and musical talents to reproduce the sound of the legendary Eagles. Performing the mega hits “Hotel California,” "Take It Easy," “Heartache Tonight,” and many more, Hotel California brings an energetic night of exciting rock and roll hits.
Dedicated to recreating Eagles classics since 1986, the Hotel California lineup consists of Dicky Lee Dickinson, Scott Fronsoe, Wade Hogue, Byron Fry, and Johnny Agostino. This tribute band faithfully and accurately recreates the hits that made the Eagles one of the most successful rock groups of the 1970s, while pushing the boundaries of rock and roll, R&B, and country. A blend of originality and authenticity, the dynamic show presents Hotel California’s renowned vocal harmonies and instrumentation. Hotel California continues to receive international recognition for a show that provides audiences with the chance to experience the energy and magic of this timeless music once again.
Each concert presents not only a showcase of The Eagles’ greatest hits, but also select titles from the solo works of Don Henley, Glen Frey, and Joe Walsh. These classic tunes are appealing to audiences of all ages, bringing back memories and touching the hearts of every generation. So join us now on a trip down a dark desert highway, feel the cool wind in your hair, and experience the Grammy-winning sounds that defined an era.
Hotel California Brings Classic Eagles Hits to Popejoy Hall
ALBUQUERQUE, NM - Performing at Popejoy Hall on Friday, April 12, 2019 at 7:30 pm, the five talented musicians of Hotel California blend their extraordinary vocal and musical talents to reproduce the sound of the legendary Eagles. Performing the mega hits “Hotel California,” "Take It Easy," “Heartache Tonight,” and many more, Hotel California brings an energetic night of exciting rock and roll hits.
Dedicated to recreating Eagles classics since 1986, the Hotel California lineup consists of Dicky Lee Dickinson, Scott Fronsoe, Wade Hogue, Byron Fry, and Johnny Agostino. This tribute band faithfully and accurately recreates the hits that made the Eagles one of the most successful rock groups of the 1970s, while pushing the boundaries of rock and roll, R&B, and country. A blend of originality and authenticity, the dynamic show presents Hotel California’s renowned vocal harmonies and instrumentation. Hotel California continues to receive international recognition for a show that provides audiences with the chance to experience the energy and magic of this timeless music once again.
Each concert presents not only a showcase of The Eagles’ greatest hits, but also select titles from the solo works of Don Henley, Glen Frey, and Joe Walsh. These classic tunes are appealing to audiences of all ages, bringing back memories and touching the hearts of every generation. So join us now on a trip down a dark desert highway, feel the cool wind in your hair, and experience the Grammy-winning sounds that defined an era.