The groundbreaking Tony Award and Pulitzer Prize-winning musical Rent, a re-imagining of Puccini’s “La Bohème” and set in New York City’s gritty East Village at a time when the AIDS epidemic was wiping out whole communities in the ‘90s, is the latest live event to be airing on Fox. From writer/composer Jonathan Larson, who died before he ever got to see the show hit the Broadway stage, the story of seven artists struggling to follow their dreams also has an inspiring message of how hope and friendship can get you through the darkest times.

During small roundtable interviews at a press day to promote this 360-degree musical experience, shooting at Fox Studios and airing live on January 27th, cast members Tinashe (“Mimi”), Brennin Hunt (“Roger”), Jordan Fisher (“Mark”), Vanessa Hudgens (“Maureen”), Kiersey Clemons (“Joanne”), Brandon Victor Dixon (“Tom Collins”), Mario (“Benjamin ‘Benny’ Coffin III”) and Valentina (“Angel”) talked about how familiar they were with Rent prior to signing on, whether they’re pulling from any previous performances for their own, how they identify with their characters, working together as a cast, favorite moments, biggest challenges, how having a live audience will change things, and whether they might be in tears once the performance is over.

rent-tinashe-brennin-hunt
Image via Fox

Question:  How well did you know Rent before this?

TINASHE:  I was familiar. The music is just so classic and timeless that it’s hard to not be familiar with at least some of it. I’d seen it a few times – the movie, as well as a college production of it. But I truly didn’t get into it until the rehearsal process of it, and got to know it on a more intimate level.

KIERSEY CLEMONS:  I first saw it when I was 14, and we sang “Seasons of Love” in our recital. I think that’s a lot of people’s introduction to it. I loved it. I just loved everyone’s spirit in the show and how, despite everything they were struggling with, I wanted to be a part of their family.

BRENNIN HUNT:  My best friend growing up, Randy Sanders, is a die-hard Rent-head fan. I used to make fun of him, actually. He would drive to school, every day, with his windows down, blaring “Seasons of Love,” while everybody else was listening to Tupac, or whatever. We played in bands together, growing up. A few years later, we were in New York City, doing a show and he was like, “Let’s go to Rent. I’m gonna show you why I’m obsessed.” I was like, “Okay, fair enough.” So, he took me and, at the end of the show, I was blown away. After that night, I became a Rent-head, and I was a huge fan of the role of Roger.

VANESSA HUDGENS:  When I did [the show previously, as Mimi], Nicole Scherzinger played Maureen, and I remember just being so blown away by her performance and thinking, “That is a hell of a part!” I wasn’t ready yet, but one day, I knew I’d play Maureen, and that day has arrived. It’s so exciting. I love my character so much. She’s exciting. She’s larger than life. She loves being the center of attention. She’s a performance artist, which I feel is a very unique expression of art, to begin with. I have so much more respect for performance artists because it’s a terrifying thing. “Over the Moon” was terrifying for me, in the beginning, but the more that I do it, the more exciting and fun and thrilling it’s becoming. I just love the character so much, and it’s so fun to bring her to life, in my own right.

rent-live-cast-05
Image via Fox

MARIO:  My mom and my family were all music lovers, and my mom knew the show. I was never a Rent-head. I never got into the meat of the actual play, musical, or movie, but “Seasons of Love” is a song that we’ve heard, over the years, whether it be shopping at the mall, or wherever the case might be. But now, I’m able to add a storyline and a lifestyle to the song. It wasn’t until after my first audition that I actually went and studied the play, the show and my character, and I understood how I related to him. Growing up in Baltimore, Maryland, in a poverty stricken area, my mom was a heroin addict for a very long time, and a lot of my family members. At 15 years old, we moved away from the city, and then came back, a year later. Starting my foundation and working with kids of substance abusing parents, I wanted to see a better environment for kids who grew up like I did, so I related to that part of Benny, somewhere deep down inside of his heart, past his evil and his persistence. That’s what gave me the confidence that I could pull off this role, not having any theater experience. All of that brought me closer to the play. There’s always something to discover, and I’m discovering a lot about myself, as a person and as an actor. The song asks, “How do you measure your life in a year?,” and it’s by living in the moment. Not by half, but by being all the way in the moment.

JORDAN FISHER:  That’s why I love the finale. It’s literally just a bunch of people standing there. It’s my favorite finale of any Broadway musical because it’s the cast that you’ve just seen work their butts off for the last two and a half hours, standing there and singing their faces off, and saying the same thing, over and over again. “There’s only us. There’s only this. No day but today.” That’s the entire point of the show. You’re seeing them surrounded by one another, loving one another, and it’s really the foundation of all of this community and compassion. Humanity is founded on compassion. Whether or not we practice it is neither here nor there, but those that do and choose to make that the root of their life and how they relate to one another, find their lives happier, regardless of the trying times of the late ‘80s or the ‘90s, in Alphabet City, where people were dropping left and right because of a disease that we didn’t know how to deal with. Compassion, a sense of community, and family is what keeps people going through trying times. That spans across millennia. That’s how people got through it. The battle of Sparta was 300 against how many tens of thousands of people, but they were brothers that leaned on each other and loved each other. That’s how this country was founded, and how we freed ourselves from England. That’s how we get through.

rent-live-cast-02
Image via Fox

Do you feel like you’re pulling from any performances that you’ve seen, for your version?

TINASHE:  A little bit. It’s just a process, looking at all of the different performances in the past and taking away from those what are my favorite parts of their performances, and trying to apply those to what I’m doing, and then, also just making it my own. It’s a combination of finding that balance.

HUNT:  [When I saw Rent], it turned out that Will Chase was playing Roger, at the time, and my first acting job, ever, in 2015, was Nashville, where I was in scenes with Will Chase. I was like, “It’s funny, how the universe works.” So, when I was up for this role, I was out doing my second callback in New York City and I reconnected with Will. He took me to dinner and I asked him questions. I said, “What should I expect, going into my audition?,” and he gave me the best advice. He said, “I know you’re a fan of the show, and I know you’re a fan of things that I did, or that Adam [Pascal] did. But just go in and be you, as much as possible, because nobody’s gonna be you better than you, in this role.” So, there are parts of Adam’s phrasing or things that he did that I’m gonna use pieces of, and there are things that Will did, with his acting side of things, that I’m gonna use pieces of, but then I’m gonna see what comes out, in my world. It’s just a little bit of everything, mixed with what I do.

CLEMONS:  I’m being encouraged by (original Rent director) Michael [Greif] to do my own thing, but I’m obviously inspired by Fredi [Walker] and [Tracie Thoms], and the things that they brought to Joanne. For me, they are Joanne.

rent-vanessa-hudgens
Image via Fox

How are you approaching your character?

HUDGENS:  [Maureen] just tries to do the most, and I feel like sometimes, when you’re doing too much, it’s too much. Sometimes there is beauty in simplicity, but Maureen is not about a simplistic lifestyle or expression. She’s definitely not the best. She’s forward-thinking and explorative, which I think performance art is. But, who knows? Maybe with a little more finessing, she’s on her way.

CLEMONS:  In [Joanne’s] mind, she’s very organized and assertive, and she does everything that she says she’s gonna do. And then, she surprises herself and commits to this crazy person, Maureen, and has this desire to create and help put together Maureen’s performances. There’s this part of her that she should lean into a bit more, that’s not as structured, and I’m always reminding myself to lean into not giving a fuck, just a little bit more. You have to sometimes. It’s nice to know what you want and what you need to reach those goals, but we put so much emphasis on things that we don’t let them breath. You have to let them come to you. Joanne is figuring that out, and so am I.

HUNT:  Performing to a live audience is second nature because I’ve been doing it since I was nine. Acting is its own thing, and I’m new to that. I feel like I’m learning, each and every day, in the acting world. As far as theater goes, you have to project to a broad audience in a theater, where this is a theatrical musical. It’s gonna be tight with the camera, and that’s challenging. When I’m in a big moment that’s between me and Mark, Jordan Fisher’s character, and we’re arguing about something not to be over dramatic, the camera is gonna be tight. Even though we are in a live audience and there’s gonna be 2,000 people there, we’ve gotta keep in mind that people are watching this on 47 inch TVs in their homes. The challenge to me, as an actor and a performer, is to find the balance of not being too over the top.

rent-mario
Image via Fox

MARIO:  I don’t see Benny as a villain. One of the beautiful things about friendship is that, at some point in the relationship, you cross that threshold of love and defeating the idea of breaking a friendship apart because of an argument. You guys have seen each other’s dark sides and shadows. And I feel like because Benny, Mark, Roger, Collins and Maureen all live together, they know each other past the ego, the fear and the pride. I don’t think he’s a villain. He’s the big brother that’s like, “Look, I’ve seen the other side of the mountain, and you guys should come.” And you’re like, “No, we like creating on this side of the mountain because this is where we feel comfortable.” I take it back to growing up in Baltimore, leaving, and then coming back home and saying, “There’s another side of life that you haven’t experienced yet. I’ve seen a glimpse of it. If you’re not scared to evolve, you can experience it, too.” That’s totally relatable. So, no, I don’t see him as a villain. I see him as a human who learns, later on, that friendship and equality isn’t about your perspective. It’s about community and listening to everyone’s story because everyone has something powerful to add.

BRANDON VICTOR DIXON:  For me, a lot of Rent’s storytelling is in the relationships and how the characters, themselves, intersect. As each of us are finding the characters and our place in it, that’s when I’m finding who Collins is, for this moment and at this time. This is what’s happening and what’s working, so this is who he has to be. That’s how you fit into that piece of the puzzle, so that we get where we’re going. So, sometimes it’s about Collins’ humor, and sometimes it’s about his empathy. A lot of times, people see Collins as the elder statesman and the wiser one, but he has to go through something, otherwise it’s not interesting for any of us. He still has to be asking questions. For me, that’s the beginning of “Santa Fe,” right before the police are roughing up the homeless woman and we intervene, and then she’s like, “Who the hell do you think you are?!” “Santa Fe” is such a fun number. It’s so easy to start singing that, and when Collins starts sharing, he’s thwarted by a metaphysic puzzle. “Santa Fe” is not just creating a fantasy, but working from a place of this idea that, “Things are difficult, but fuck it, man, let’s open up a restaurant in Santa Fe. That might be nice.” And then, that transitions into “We’ll open up, instead of let’s open up.” With all of the uncertainty and death going on around us, and not knowing what’s happening to your body, and not letting people touch you, you still create a big dream and want to actualize something that drives forward into life because there is something to live for, even though we can’t see it yet. It’s the pursuit of that idea of value, as opposed to just trying to teach. That’s the balance.

rent-live-valentina
Image via Fox

VALENTINA:  There’s so much shifting with the Angel character that I don’t wanna talk too much about how it’s pushing drag even further. It’s my Angel, and what we’re doing with it is also pushing the topic of conversation of gender identity. Now, more than ever, is a time where Angel can be talking about those things. In the 90s, when the character was created, I don’t think the audience would have been able to really understand what that meant, so I’m very honored to be put in the position where they’re challenging the topics of conversation with Angel’s gender identity and pushing it forward, in a positive way, where Angel, himself or herself, can really talk about feeling different and feeling more confident when she gets into her drag armor. For someone like me, who’s gender non-binary – I don’t identify fully male or fully female, and feel like I’m in the in between – and I’m also not trans and I’m non-conforming, I get to shed that light with Angel, in this moment, and it really reflects the time. Not everybody is cisgendered, and we all need to be supportive of people that are on this earth, who are different, and support them through their process and journey because we all deserve to live an authentic life, especially if we’re not harming anybody.

Valentina, what expertise are you bringing to this, as a real drag performer, yourself?

VALENTINA:  I think I’m bringing a lot of my expertise in drag, when it comes to the image of Angel. I’m working really closely with the make-up team and the wardrobe team. Angela [Wendt], who’s the original costumer that’s created many Angels, is working with me on this Angel. Together, we’re making this Angel a little bit more glam with textiles. We’re not necessarily taking things out of context. We’re staying true to the character, but just adding little elements of drag sparkle. We’re adding those things that make the character really care about her fashion. With the make-up and the quick changes, the challenge is that I don’t have eyebrows. I start out at the musical being a boy with brows, and then I transform into “Today for You” drag Angel. It’s been a fun transition, realizing how we’re gonna make that happen, if I’m browless in my every day, as a boy. We had to figure out how we were gonna have brows, and then change to a girl brow. That’s where I get to step in, as a drag queen who’s experienced stuff like this. We had to decide if we were gonna erase the brow and draw a new one. With the rest of it, I’m not really channeling a drag queen. That’s already in me, naturally. What I’m channeling is my inner actress, and doing all of that while dancing, which is also new to me.

rent-live-valentina-brandon-victor-dixon
Image via Fox

What’s it been like to work together, as a cast?

CLEMONS:  We all like each other so much. Everyone gets along so well and is so supportive. There’s so much strength in our teamwork. We also just have the best people around us, uplifting us.

HUNT:  Everybody’s approach is different. I’m a little different with Tinashe than I am with Jordan, and same with Mario. It’s funny, we’ve all become a family. We just had a chemistry. The minute that Tinashe and I started singing together, I was like, “Wow, our voices sound really good together.” It’s funny how good a job they did, casting this thing. The chemistry is there but it’s different for each character and actor. I think it’s always gonna be that way ‘cause everybody’s their own individual artist, and they bring something different out in you, as an artist, depending on your chemistry.

VALENTINA:  It’s such an honor to be in the presence of these stars. They’re so professional. They’re so fun to work with. Brennin is new to everything, but he takes on all of his work so purely. From the very start, he was just magical. Jordan is perfection, at all times, and is so sweet and so willing to always help you. Vanessa Hudgens did Mimi before, and now she’s doing Maureen. The shift in energy, with taking on a different character, is just so there. You can tell that she is such a great actress, and she just pushes herself. Her and I have the same vocal coach, and I’ve noticed the techniques that he teaches me and how she implements those in her singing. She’s just so very talented. And my very, very special Brandon Victor Dixon is my angel. He’s coached me through all of this. He’s held my hand, the whole way. He hugs me. He says, “You’re doing great!,” and he really believes in me. He tells me how much I’ve improved and grown. Not being a singer, can you imagine singing alongside such a wonderful, amazing voice? And then, to have him say, “You’re doing a great job. Your voice has really improved.” It’s so shocking to take that in from someone who’s so amazing. What a privilege. I have given many amazing performances in the shower, but to be taken seriously, as a singer, this is gonna be my first try at it, so I’m working really hard with my vocal coach to make sure that I have the technique to be able to do more than just sing well, but to have people believe it.

DIXON:  I’ll tell you, our show has been really well cast. We first met on November 14th, and then we were separated for two weeks, before we came back together for rehearsal, and everyone fell very naturally into their characters. The energy made sense, and my relationship with Valentina has developed with extraordinary ease. We felt very comfortable with each other, with each other’s energy, and with each other physically, from the very beginning. I love her dearly. She’s very easy to love.

rent-live-cast-04
Image via Fox

What was the moment where you felt like you really got your character and could pull this off?

DIXON:  When we did our first read-through. We learned the music through the first couple of days, and then the last day of the week, we read through it, and even through the slow stuff, the struggles and the mistakes, the thing that came through most clearly is everybody’s earnest desire to make it as honest as possible. The desire to be here, to make it real, to live through it, and to illuminate is what this piece requires. It needs people who are willing to give a piece of themselves, in an effort to find something. So, if you have a group of willing actors, who are gonna engage in that process, that’s all you can ask for.

HUNT:  Performing “One Song Glory.” I can relate to that, very much so, because, for the past 12 years, I’ve been a struggling singer-songwriter in Nashville. I’ve been in and out of publishing deals, writing songs for a living, getting advances and getting dropped ‘cause I haven’t gotten my chance with Keith Urban or Luke Bryan. I know what it’s like to have that pressure, from a company, to write that song that’s gonna make them money and essentially break my career. I’ve been pulling from a lot of my personal experiences in Nashville, as a struggling songwriter, with Roger. “One Song Glory” feels like home to me, trying to write a damn song.

CLEMONS:  When I started to see “La Vie Boheme” come together, I was like, “Oh, my goodness, we're doing a lot and it's working and it's blowing my mind right now!” It wasn’t even perfect yet, but it was still incredible.

HUDGENS:  I feel like I’m still exploring it. You find yourself walking differently. Every day, in rehearsals, it’s a new exploration and discovery, which is always the most exciting part about rehearsals. We’re just continuing to dive in further, to explore who this person is to you and how, in your creative eye, you view that person and step into their shoes. I see myself as a performer. I always have, ever since I was young. I remember walking up to an orchestra in the park and taking a stick and pretending to be the conductor, at three years old. I’ve always loved taking control, and that’s a very strong aspect of who Maureen is.

TINASHE:  We’re still getting there. For me, I think the closest thing that I had to that was the day that I put on my outfit, for the first time. That was the first time I felt it. I was like, “Here she is. She’s coming to life.” I put on the fishnets, and then I was like, “Okay.”

Rent Live Cast Jordan Fisher
Image via Fox

Do you have a personal favorite moment in the show?

DIXON:  I do. “I’ll Cover You (Reprise)” is a favorite moment for me. There are a lot of elements in that song that are at the core of what the show is trying to teach. I appreciate it, as an artist and as a part of the show. For me, sharing the investigation of a thing is what I find of value in, with the artistic process, and what I seek to do for myself.

HUNT:  My favorite that I am in is “Light My Candle.” Since Roger is so serious for most of the musical, it’s the time he gets to be playful, and it’s so fun doing that with Tinashe. She’s amazing. The back-and-forth, cat-and-mouse game is really fun to me. One of my other favorite moments is when Mario comes in “You’ll See.” I have very minimal dialogue in that, but it’s fun to watch him come in, smooth-talking. Mario kills that role. But my all-time favorite moment is “I’ll Cover You (Reprise).” Brandon Victor just kills that. There’s not gonna be a dry eye in the house. It’s so emotional. So, get ready for that and have some Kleenex. That man can sing, and he brings the emotion with it, too. It’s amazing.

“Light My Candle” is one of the trickier numbers because the candle doesn’t necessarily always light when it’s supposed to.

HUNT:  When we first started staging that, the hardest thing was lighting the match at the proper time. I was like, “Oh, shit, I didn’t think of that!” So, we’re actually cheating a little bit and taping two matches together, so that it helps a little bit to ignite it. I’ve had moments where I cheat and pull that out ‘cause if I don’t light the candle, then it’s not gonna work. That’s a little nerve-wracking, to make sure I light that damn candle. I’m just gonna keep lighting until it lights. It’s gotta be lit!

rent-live-brandon-victor-dixon
Image via Fox

What are you finding the most challenging about all of this?

DIXON:  The show itself is unique, so it’s about making sure that it’s clear, with the relationships, with what we’re trying to say, and with why we’re saying it. The real meaning of the show is the highlight and the challenge.

TINASHE:  For me, it’s trying to find my character, throughout all of this stuff that we’re having to do. We’re trying to change our costumes, move the mic pack and get the mic on, and then, go do the next thing and run over there, and there’s a camera here, and then you gotta go up the stairs. And at the same time, you’re like, “But, I’m dying!” You have to continue to maintain that authenticity.

HUDGENS:  It’s draining. The most challenging part for me, but also exciting, has just been the performance piece, itself. It’s rare to have an entire song that is just you, in the midst of so much. So much is happening throughout the show, and that slows down the pace, a little bit. I feel like to have all eyes on you, in that moment is terrifying, but the more that I do it, the more comfortable it feels. It’s definitely coming out with a bang.

FISHER:  The technical aspect is always a real challenge. We’re doing it all on one stage and it all takes place, right there in front of you. It’s a 360 experience. You’re fully immersed. We have lighting rigs posted in six different places in the soundstage. We have transmitter units for the audio team and microphones that have a very wide range. There are so many ways that we need to be covered, technically, that that’s probably the most challenging part. The most fun part, for me, has been doing it with all of these people.

MARIO:  The most challenging part for me is not over singing. Benny doesn’t do that. There are so many good songs, and so many good harmonies. As a singer, you want to do this show. You want to sing “Seasons of Love” and have those Rent moments. It’s just a beautiful experience, as a singer.

rent-live-kiersey-clemons
Image via Fox

CLEMONS:  Probably “Tango Maureen,” but Jordan helps me so much because he’s an amazing dancer. The difficulty is that he’s actually helping me so much, but I’m supposed to look like I’m the better dancer. I’m like, “Stop doing it so great, but help me!” I was so freaked out about it, but our choreographer, Sonya [Tayeh], is amazing and makes everything so easy to learn. Jordan makes it so easy that now it’s nothing. Well, it’s not nothing, but I’m okay. I’m not having panic attacks over it anymore.

Is it challenging to make sure you’re getting the choreography that Sonya Tayeh has created for this performance?

TINASHE:  Sonya is somebody that I’ve been a fan of and admired, for over a decade. I used to take her class at The Edge when I was 15 years old, so it’s just crazy, coming full circle and seeing this person that I was so inspired by, artistically, and how they’re able to take a Broadway production and put their spin on it, very rapidly. It’s different than a lot of the choreography that I’m typically used to doing on stage, so it’s just a fun experience.

HUDGENS:  She’s a true artist. She’s so unique, in her own self-expression. And then, the way that she works with other artists is really special, as well. She takes their ideas and what they have to offer, and she integrates that into the characters and into the story. It’s really a collaborative experience. She just has such a unique and distinct vision for what she wants, and being able to bring that to life with her is magical. She’s amazing.

HUNT:  This is the first time that I’ve ever been choreographed. Sonya is amazing. I’m a fan of what she does. For “La Vie Boheme,” she has this amazing choreography. It’s so, so good. I selfishly asked if I could have private sessions with her, just for myself because I wanna be the best at it. I want it to be second nature and just muscle memory, and I think I’ll get there. I’ve been working hard to try to perfect it. That’s a challenge, for sure, ‘cause I’m in 85% of this musical and there are a lot of lines that I’ve gotta remember, along with songs, blocking, choreography, and all of that. I worked for a month with an acting coach, and we went through the script, word by word, to just dive into the characters, so I feel like I knew that aspect of it. I just hope I don’t mess up the choreography, knock on wood.

DIXON:  It’s been really interesting. I’ve worked with Sonya before, but very briefly. We had a really lovely time, and I love her energy. For me, what’s been great is watching Sonya take what is a very organic movement piece, where all the movement is natural, and shape the storytelling in very specific ways that accentuate not just the life of the world, but the themes that we’re trying to communicate. To watch Sonya navigate the overt nature of Rent’s expression with the restrained nature of television censorship, and watching her and Michael Greif communicate and remind everybody that the limitations of the overt expressions of certain things don’t have to be limitations, but advantages, has been really great. We’re getting the opportunity to find ways to use the subversion. That’s what art is.

VALENTINA:  I’m definitely jumping on tables and chairs, and twirling, and having to hit high notes, and taking on choreography. It’s just the repetition of doing it, every single day. Working with Sonya is such a blessing because, on top of being an amazing choreographer and always making sure that you’re doing well, technically, she really cares that you’re delivering something from your heart. She always wants to make sure that you’re okay. When you’re not doing okay, she almost bullies you into getting out of your head by saying, “No, there’s no time for that. You gotta deliver. You’ve got this. You have this in you. You’re doing amazing, and you’re gonna be great. Don’t get in your head. You’re amazing. You know that it’s in your body, so just do it again. Fight through it. I wanna see how much you want this, and I wanna see how far you can take this, even if you’re having a hard time. Show me how bad you want this.” So, she’s really coaching us, in a way that’s tough love, but she also has her moments where it’s just pure heart and soul that she gives us.

rent-live-brennin-hunt
Image via Fox

Angel is a role that can make whoever is playing it feel very vulnerable. Have you experienced that, as well? Has it been very emotional for you?

VALENTINA:  Yeah, it has. I even get emotional talking about it because I can’t believe that I’m in this role and that I get this opportunity, telling the beautiful story of who Angel was. When you’re living the emotions, in the moment, you’re feeling the heart and soul of Jonathan Larson, who passed away before being able to get to see [the show] go to Broadway. Sharing his legacy, there’s so much heart and soul in it that you can’t help but to break down in tears, when you hear the reprise of “I’ll Cover You,” or you hear the struggles of them not knowing, “Will I lose my dignity? Will someone care? Will I wake tomorrow?” People were dying, left and right, and nobody cared. These amazing souls didn’t deserve death. They were just trying to live life to their fullest, and you feel that. You feel the energy, and that’s very vulnerable and very emotional. I definitely go home crying sometimes because it’s just so much, and it’s such a heavy material, but it’s a blessing to be able to tell such a beautiful story. I hope that people tune in and are moved by it because it’s definitely moved me. My Angel has definitely inspired me to be a better person. I would like to be a lot more like Angel, for sure, in my everyday life.

What kind of work have you done to get into the acting side of this and understanding what it would have been like for this character, at that time? 

VALENTINA:  I’ve talked with older gays that lived through the late ‘80s and early ‘90s, of the AIDS epidemic. I definitely looked into that and what it was like, with the feeling of not being able to do anything about it and knowing that it was your death sentence. Also, I’ve studied one of my friends closely. I’m not gonna say who ‘cause I haven’t told him that I’m studying him, but he’s a very, very giving and caring person, who’s always thinking about other people before he thinks about himself. He’s always making sure that people are happy because that’s what makes him feel happy in life. That’s how he’s fulfilled, through helping other people. It helps him feel happy. Through making sure that he helps someone, he goes to bed happy, and to see other people happy, makes him happy. I feel like Angel is very much that kind of person, so I’ve been studying my friend to really channel that. So, at times when I’m like, “How do I deliver this line?,” I go, “What would your friend think? How would your friend channel that?” He cares so much that he would go all the way for someone, not expecting anything back, and that’s “Today 4 U.” So, that’s my preparation, as an actor. I’ve also been working with (original Rent director) Michael Greif. He really believes in me. He’s told me stories and described the energy that I could be delivering, or helping me with the intent behind what I’m doing. He’s helping me be an actor, when I don’t know how to act. There are times when I’m shocked at something that I didn’t know I had in me. As long as I am just really authentic with what I’m believing, then I’m transcending the character. I wanna be the character. I don’t wanna be Valentina. I’m not Valentina. I’m Angel. As long as I trust that, I think everything’s gonna be okay.

Do you feel like your experience on Drag Race has helped you, as a performer?

VALENTINA:  I’m a natural born performer, anytime I have the cameras on me. All of my life experiences have led me to this, but Drag Race was definitely the pivotal moment, where I got discovered and put out there. If I wasn’t for RuPaul’s Drag Race, I wouldn’t be here today because it was through that show that one of the casting directors knew about me and had me audition. All that I’ve done with Drag Race has led to the success that I’ve been able to achieve today. I’m really grateful for them because, if it wasn’t for them, who knows where I would be. Probably still working in retail on Rodeo Drive, hating my life. But because of Drag Race believing in me, I now get to live my dream.

How do you think the experience will change, once there’s an actual audience?

TINASHE:  I always just turn on when I’m giving a performance. If there are people and they’re watching, the ante is upped. Even if I’m thinking that I’m giving 100%, when there are people in front of me, it’s 102%. That just happens.

HUDGENS:  It’s a whole new level. You can’t help but feed off of their energy, and I feel like the energy that they’re going to bring will be so kinetic. Because of what Rent is, you can’t help but feel it deep within your bones. I’m sure that they’re gonna feel it, and then we’re gonna feed off them, and it’s gonna be beautiful.

This is one of those shows where, at the end, the audience is often crying and the actors on stage are crying. Do you think that might happen here, when you’re singing the last song for the last time?

FISHER:  We all cried at the end of Grease Live because it was over and we all loved each other so much. The emotional construct of the show, specifically in the end, kills us in rehearsal, when it’s done. By the live taping, we’ll have had nine weeks of being in the trenches with one another. So, to open and close a show within a three hour block, that alone is enough to make you want to sob. And then, when you tie this music and the people together with how close we’ve all gotten during this time, it’s a recipe for emotional disaster.

MARIO:  The answer is yes, for me. I know that I’m gonna cry, for a fact. There are certain moments of the show where I’m already in tears. There’s a part where Mark and Roger are by the bench, and Roger is about to leave and Mark says to him, “You just keep picking up and running out of town.” I’ve already seen Jordan cry three times, doing that part, and I’m holding back tears because I have to enter the stage, at that point. It’s definitely a tear-jerker, and you’re forced to be vulnerable. There’s no way to do pull this amazing experience off without the vulnerability of all the characters and everything. You’re putting it all out on the table. You have to. I don’t even know if it’s acting anymore because I feel like it’s in my DNA, at this point. Benny is in there. When I’m watching Jordan perform, he is Mark. It’s in there. We’re still discovering things, but it’s such a real part of you because we’re becoming the characters.

Rent airs on Fox on January 27th.

rent-live-poster