The characters grapple with an intense sense of betrayal, stemming from their own bodies, the materialistic society around them, and the very people they once trusted. Their bodies turn treacherous after contracting HIV, rebelling and gradually spiraling into decline as their immune systems falter, leaving them vulnerable to a cascade of ailments. Meanwhile, society deceives them with its shallow promise of the American dream, a vision shackled to relentless social climbing and financial gain. The vibrant artists of the East Village find themselves invisible within this framework unless they abandon their integrity to appease soulless corporations. This is starkly evident when Mark is hired by a sleazy television newsmagazine to exploit the desperate plight of the homeless for profit. A poignant moment of realization strikes when a homeless individual Mark films lashes out, declaring, "I don't need no [g―d―] help / From some bleeding heart cameraman / My life's not for you to / Make a name for yourself on!" He accuses Mark of attempting to ease his own guilt at the expense of others. Mark, like Benny, is ensnared by the same system; Benny unfeelingly bulldozes over the homeless in his quest to reshape the neighborhood for personal gain.

Personal betrayals cut the deepest. Individuals once trusted, like Benny, manipulate friendships for personal advancement. After marrying into wealth and privilege, Benny becomes ensnared in the materialistic web that equates success solely with monetary status. He coerces Mark and Roger to silence Maureen's protest performance, trying to co-opt them into his capitalistic agenda by threatening eviction if they refuse. Other betrayals wound more intimately. Roger feels the sting of betrayal from his girlfriend, who, overwhelmed by life with AIDS, takes her own life. In a cycle of hurt, he betrays Mimi's trust, fleeing from the vulnerability of potential loss. Maureen, under the relentless pressures of life in the East Village, transforms into a self-indulgent hedonist, turning her back on both Mark and Joanne, leaving them to navigate the fallout of her actions.

In their quest for liberation from life's stark truths, the characters embrace a bohemian existence where art and individual flair become their refuge and voice. Angel finds his true self by donning women's attire, Maureen channels her creativity into performance art, Mark captures reality through his documentary lens, and Roger pours his soul into rock music. Their bohemian spirit is a rebellion against conformity and superficiality, as they shun the consumerist world around them, replacing it with a fierce commitment to self-expression.

Mark encapsulates this ethos through his song, where he sings, "Playing hooky, making something / Out of nothing, the need / To express—/ To communicate, / To going against the grain." They proudly align with the avant-garde, raising a glass "To Absolut [Vodka]—to choice—/ To the Village Voice [a counterculture newspaper]—/ To any passing fad / To being an us—for once—/ Instead of a them—."