Jonathan Larson’s story is a compelling one.

Perhaps even more compelling than his Pulitzer Prize-winning drama, “Rent” — a contemporary American musical version of Puccini’s “La Boheme” which details the rich and ironic parallels between the lyrical tale of boisterous bohemians in 1830’s Paris and the struggles of young urban artists in 1990’s East Village, New York.

Minutes after the final dress rehearsal for “Rent,” Larson was interviewed by The New York Times. He emphasized that “Rent” was motivated by his need “to respond in some way” to his friends coping with AIDS.

“The musical was to celebrate the lives of people who have died young,” he said.

Two hours later, Jonathan Larson become one of them.

Larson died of an unexpected aortic aneurysm on Jan. 25, 1996, 10 days before his 36th birthday.

“Rent” was to start previews the next day.

“He wanted this so badly,” “Rent” director Michael Grief told the New York Times after Larson’s death. “He had worked his whole life for it.”

Larson’s story begins seven years earlier, the summer evening friend and playwright Billy Aronson introduced him to the idea of a “La Boheme” for the MTV generation — a “Hair” of the ’90s.

Wheels in Larson’s head began spinning and wouldn’t stop until the night of his death.

He saw the musical as a chance to capture the poverty, homelessness, spunky gay life, drag queens and punk rockers that hung over his East Village home like a dark cloud.

The characters, ranging from an H.I.V.-positive rock musician numb from the suicide of his H.I.V.-positive girlfriend to a sexy performance artist who left her boyfriend for a woman, were inspired by real-life events and relationships.

Larson waited tables by day, but was engulfed in the H.I.V.-stricken lifestyle of his friends and neighbors by night. With a cheap keyboard in one hand and a pen in the other, he documented the lives of modern day bohemians.

By fall of 1992, Larson had completed the musical and was ready for test runs. He sought out the new New York Theatre Workshop which was then operated by James Nicola, who would become one of Larson’s closest friends.

“What drew Jonathan and me together in a philosophical place was the belief in how tragic it was that pop music and theater music had gotten a divorce,” Nicola told the Times. “I felt he was the first composer I had run into who had the possibility of doing something about it.”

“Rent” went through several changes after run-throughs proved the script was a bit too unconventional.

Grief was brought in to direct the rock opera, which was almost half-rewritten from its original form.

“Rent” traveled a rugged road, but on Feb. 13, 1996, it premiered at the New York Theatre Workshop to rave reviews.

By April, the Nederlander Theater on Broadway had won an enormous bidding war to show “Rent.”

That year, the musical won a Pulitzer Prize, four Tony Awards, six Drama Desk Awards, and was named Best Musical by the New York Drama Critics Circle.

Two “Rent” companies are currently touring the United States, while international companies are performing the musical in London, Japan and Australia.

Every theater where “Rent” is performed installs a plaque which every actor touches before going on-stage. On it are the first words to break the silence at Larson’s memorial service almost three years ago.

“Thank you Jonathan Larson.”

“Rent” runs at the Civic Center in Des Moines, 221 Walnut St., tonight and Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7 p.m.

A limited number of tickets are available through Ticketmaster, priced at $20.50 to $55.50.

About 30 same-day rush tickets will be sold two hours before every show for $20.50 each (two-ticket limit).

Prospective ticket buyers may line up in the Civic Center’s Skywalk connection at Third and Walnut streets.

“Rent” will also show Feb. 23 through Feb. 28 at Hancher Auditorium in Iowa City. For ticket information, call 1-800-HANCHER.