tick, tick…BOOM! Blows The Lid Off

tick, tick…BOOM!
Book, music, and lyrics by Jonathan Larson
Directed and Choreographed by Stephen Nachamie
Musical Direction by Joshua Finstein
Erik D. Diaz, Scenic and properties design; Eric Propp, Costume Design; Jamie Whoolery, Lighting design; Rick Lombardo, Sound design; Molly Martin, Stage manager

CAST (in alphabetical order)
Aimee Doherty, Susan
Guy Olivieri, Jon
Brian R. Robinson, Michael

Performances through October 21, 2007 Downstage @ New Rep in the Black Box Theatre
Box Office 617-923-8487 or www.newrep.org

After seeing tick, tick…BOOM! at Downstage @ New Rep, this much seems certain – the theatre world lost a great talent when Jonathan Larson died unexpectedly of an aortic dissection on January 25, 1996, ten days before his 36th birthday. While he proved his genius with RENT, the Pulitzer Prize and Tony Award-winning Best Musical (1996), t,t…B! is the precursor to that masterpiece in which he shows early signs of the brilliance that garnered him so much acclaim.

In this autobiographical account, we get to see the artist in the making – the hope and apprehension (as he puts it), the doubts and indecision, the soul searching and gut checking, and the joy in making the journey, all laid bare on an appropriately nearly bare stage. Set, costumes, and props are minimal, seemingly a symbol for the stripped down existence of the promising artist. What matters is the work – the music, the poetry, telling one's story, telling the truth.

In his dialogue and lyrics, Larson's alter ego Jon asks the questions that we all want answered. What do we really want and what is truly important in life ("Real Life")? His friend Michael who has forsaken the theatre world for a high-powered job with a market research firm has the material trappings – the Beemer, the fancy apartment, the tailored suit, and three belts. Girlfriend and dancer Susan is ready to leave the city for a quieter, slower pace on Cape Cod. Insecure about his talent and his prospects, Jon wonders if he should compromise or persevere in pursuing his dreams ("Johnny Can't Decide"). He appears to be waiting for a sign and ultimately receives more than one to help him choose his path.

From the moment he appears center stage, seated at his keyboard in rumpled t-shirt and jeans, Guy Olivieri is Jonathan Larson. He addresses the audience and narrates his coming-of-age story with an ease that belies the inner turmoil that Jon is experiencing as he is on the verge of turning 30. His energy is sustained at a high level throughout and his voice is perfect for the contemporary style of this musical. One of many amazing things about Olivieri's performance is the eye contact he establishes with the spectators, which made me feel as though he was speaking to me and my companion felt the same connection. If you believe as I do that the audience is an integral part of the show, then this bond has powerful benefits on both sides of the fourth wall, especially in so intimate a space as the Downstage Black Box Theater. [Note to Boston's artistic directors: entice this Guy to come here from New York more often!]

Olivieri's chemistry with Aimee Doherty as his lover and Brian R. Robinson as his childhood friend is as palpable. Jon and Susan argue on the phone in "Therapy," a brilliant depiction of psychobabble, and both display impatience, frustration, anger, and spite through gritted teeth, with an occasional hand gesture thrown in for good measure. Of course, they also cuddle and have a sexy rapport when the couple is getting along ("Green Green Dress"), and he looks on with starry-eyed admiration as she emotionally delivers her big number "Come To Your Senses." In a Jeffersons "Movin' On Up" kind of tune, Michael and Jon sing the praises of the former's new digs in "No More" and share heartfelt moments as they support one another in their struggles with their personal demons. The three cast mates perform several songs in beautiful harmony, none more compelling than "Louder Than Words" which just might be the anthem for this generation.

Doherty and Robinson also cover a handful of peripheral roles, with each taking a turn as Jon's agent Rose. Donning oversized glasses and posing hand on hip, with a cigarette holder and clenched teeth, their portrayals of her are spot on and surprisingly alike. Doherty's interpretation of the many moods of Susan brings her to life as someone we care about and understand, not merely the protagonist's girlfriend. Robinson plays Michael as solid and self-confident, more big brother than playmate to Jon, and fills the room with his sonorous voice.

The cohesiveness of the cast is matched in spades by the quartet of musicians under the direction of Joshua Finstein at the keyboard. They are seated on stage and even get to speak a few lines, but it is their crisp, tight play that lays the foundation for the spirited and sensitive score. Director/choreographer Stephen Nachamie does a good job of highlighting the youthful exuberance of the cast while creating dance moves that make the most of this small space.

tick, tick…Boom! is an extremely intelligent play with characters who have both brains and personality. Larson's writing is smart and intuitive and I love that his lyrics also serve to advance the storyline. He raises as many questions as he answers, but they are universal themes and this is simply one slice-of-life version of facing the onslaught of adulthood. If the best theatre is both provocative and entertaining, then Downstage @ New Rep can proudly proclaim "Mission Accomplished."

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