Whenever I find myself procrastinating and know I just need a good kick in the pants I turn on some motivational music. My favorite song is simple and infectious: "No Day But Today" from Rent, a rock musical based on the opera, La Boheme.
Since I saw the full throttle musical nearly 10 years ago, I have probably listened to Rent's original cast recording a thousand times over. This is due, in part, to the fact that I have procrastinated putting more songs on my iTunes list, but also in part because the songs really inspire me. The "No Day" lyrics have actually become a sort of mantra to me, words I almost subconsciously recant to myself on a daily basis. The song uplifts me (from sitting on my duff), especially when I'm feeling (justified or not) as if nobody cares about what I have to offer. Jonathan Larson's beautifully crafted music and lyrics give me the energy and motivation to create something good, something noteworthy, something genuinely me, regardless of the success of that creation. So I find myself doing, not just thinking about doing.
The other day, while listening yet again to my Rent fix, I decided that I wanted to treat readers to "No Day's" powerful and haunting words. However, before sharing his lyrics, I thought I'd research the late lyricist/composer Jonathan Larson so that I could provide a bit of background to go along with the words. And, wouldn't you know it, in doing so I reconfirmed why I love the show and its creator, from both an artistic point of view and from that of a career coach. Here are just some of my reasons:
"You're Not Alone" (What You Own, Act II)
When my courageous clients design their own line of work they are initially propelled by their amazing vision and talents. Whether they create a position for themselves in a company or start their own unique enterprise, they become the boss of that vision and have exclusive ownership. However, most of them find, understandably, that they cannot do everything themselves. Implementing their vision requires finding other specialists to help round out their expertise. (For example, the architect who wants to open his own niche-driven design firm but needs to enlist the advice or help of business experts.) Ideally, the collaborators keep the boss on the right track and help navigate when the boss finds himself in unknown territory. In the simplest of terms, the team provides the creator with a much needed kick in the pants to keep moving past obstacles.
Likewise, Rent was a fully-embraced collaborative effort. For over seven years, Mr. Larson worked with and was supported by a creative team of individuals who brought various assets to the table. (And this doesn't even include the designers- set, costumes, lighting, etc., who later came together to bring Rent to life.) I'm referring
just to the development stage: masterminds who set about getting the show's structure, tone, and flow just right during numerous readings and workshops. (Jonathan referred to the structural edits as "programming changes.") The collaborators included producers, directors, and a dramaturg who, with their different personalities, abilities and points of view, brought a broad creative spectrum to Rent's development. Ironically, the multi-perspective effort enabled Jonathan to pare down the show to its absolute essentials.
Of course, Rent was Larson's own voice and composition, but with assistance from insightful colleagues, the young songwriter funneled every word and note into a powerfully fueled work of art. Due to the collaborative effort, the show injects just the right amount of humor but never gets too cheery or preachy, too cold or dark, despite the subject matter of AIDS, poverty and homelessness. Jonathan and director Michael Grief labored over this balance in tone, each bringing his own point of view. Says Anthony Rapp, the actor who originated the lead role of Mark, "What Jon gave Michael was some of his hope and heart and generosity of spirit. And what I think Michael gave Jon was some edge and realism and complexity, and making sure things didn't all resolve nicely and prettily. It was a good marriage."
By bringing in a variety of sensibilities, Mr. Larson's individual expression of song and story exploded into a universally appealing show. Not only did Larson win top awards (including the revered Pulitzer Prize,) Rent became the 8th longest running show on Broadway and has been produced prolifically around the globe. In other words, the musical speaks (or rather, sings) to millions.
"Emotion, Devotion... Causing a Commotion" (
La Vie Boheme, Act I)
Using the team approach, any project, business, or work of art becomes rich and full of nuances. But it's not without some discomfort. Although the creator needs to feel an emotional connection to their work, even the most talented must be able to accept their own limited viewpoint. It is impossible to not have differences in opinion when it comes to implementing your vision. The discomfort, of course, lies in the ambiguous nature of collaboration. For example, what happens when the creator's opinion differs heavily from the partners' opinions? When does the team effort become critical, and when does does the ball need to go back into the court of the individual?
Larson struggled heavily with this conundrum at one point. He found himself at a personal breaking point after seven years of endless editing and rewriting spurred on by his colleagues, and he was desperate for reassurance. So he called on his mentor, composer Stephen Sondheim, and pleaded with him for helpful, objective advice. Sondheim promptly reminded him that because theater is collaborative, part of Jon's job was "to take into account what his collaborators felt."(http://www.siteforrent.com/abouttheshow/the-history-of-rent.html) So Jon listened to his colleagues and moved onward with the project.
"Take me for what I am" (
Take Me or Leave Me, Act II)
Rent, like all of Larson's work, is genuine, personal and honest. He wrote from experience and created music and lyrics because he
needed to. In fact,
tic tic BOOM, an earlier work that was produced only posthumously,
tells the story of Jon's personal struggles: living with rejection, both professionally and personally; living with no heat in a cramped NYC apartment; grappling with the idea of leaving show business for more lucrative, stable work; juggling his survival job of waiting tables with his creative efforts. In essence, Mr. Larson's
need to write music overrode his
desire to live traditionally, without hardship.
The more our creations, including our career paths, reflect us, the more we will succeed in garnering interest in our work. Make it your own, as the saying goes, and others will be drawn to your bare naked authenticity. In a world full of redundancy and imitation, share yourself with the world. Take the risk of putting yourself out there. While the initial reception may not be immediately to your liking, wait it out and trust your instincts. Others will eventually seek your fresh perspective.
And if you think that waiting until the time is just right to put yourself out there, think about this: Jonathan Larson, 35 years young, unexpectedly passed away from a aortic aneurysm the night of the final dress rehearsal. In his own powerful words, there is "no day but today."
“No Day But Today” from Rent (1996)
By lyricist and composer,
Jonathan Larson, 1960-1996
The heart may freeze or it can burn
The pain will ease if I can learn
There is no future
There is no past
Thank God this moment's not the last
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
There's only yes
Only tonight
We must let go
To know what is alright
No other course
No other way
No day but today
I can't control
My destiny
I trust my soul
My only hope
is just to be
There's only now
There's only here
Give in to love
Or live in fear
No other path
No other way
No day but today
