Review: TICK,TICK...BOOM! Is as Powerful as Ever at Spanish Lyric Theatre/S.L.T. Productions

"I'm a Composer...a Promising, Young Composer..."

"Does turning 30 always suck?...or is it just our generation? Did we just never grow up?"

Over the course of the last 26 years somewhere along the line of learned history in the depths of musical theatre you have heard the name Jonathan Larson, synonymous with the 1996 Rock musical RENT that changed the face of musical theatre in its time. Boasting a rock score and groundbreaking storylines such as the rise of the AIDS epidemic sweeping the country, RENT was unlike anything in its conception. However, Jonathan Larson and his stamp on modern musical theatre came into fruition before RENT. Trying to establish himself in the live theatre arena since the early 1980s, Larson began performing his Semi-Autobiographical Rock Musical Tick, Tick...Boom! in the early 90's as a solo piece. Tragically Jonathan Larson passed away in 1996 of a rare heart condition before he was able to feel the immense magnitude of his fame.

Tick, Tick...Boom! tells the story of a struggling, aspiring musical composer living in SoHo NY in the 90s. Worrying he made a mistake risking it all to be a part of the performing arts industry Larson sets his sights on writing the Great Musical and impressing the likes of his most esteemed idol Stephen Sondheim. With nods to Sondheim in pieces such as Sunday, and the Tri-tone driven Why; Tick, Tick...Boom boasts a sweeping score of rock anthems in hopes of waking up the next generation of theatre artists. I think in its essence that is what makes Tick, Tick...Boom! so relevant, probably more so now than ever.

"What does it take,To wake up a generation?

How can you make someone, Takeoff and fly?"

"If we don't wake up, And shake up the nation

We'll eat the dust of the world,Wondering why..."

In a Post-Pandemic universe in which audiences and citizens alike are slowly trying to find their footing in what a sense of "normalcy" means, it makes me wonder if there was ever a "normal" to begin with. I mean sure collectively gathering in a sacred space known to many, sitting elbow to elbow with strangers to escape our own version of "normal" to live in the depths of someone else's story is what we all crave, but at what cost? When so many companies are struggling to make ends meet, often relying on ticket sales to provide salaries for performers, and help to financially stay afloat, when does a risky show become too risky?

There is that old adage, "you must do the classics, the guaranteed sells, to fund the risky opportunities..." but my question still remains when is it determined that even the classics are now deemed a risk? For me, I think that is where Tick, Tick...Boom! finds its most resonance. Here we have a work of Semi-Autobiographical nature that was revised and revamped in 1996 following Larson's tragic passing by David Auburn to turn a solo piece into a three-hander. Simplistic sets, modern costuming, and a story so grounded in human-condition, that if done right can even make the hardest of hearts embrace the notion of a better world. Larson was never afraid to take risks, to push the envelope at a time when "rock music" was never heard of in a Broadway arena.

Now Post-Pandemic in a world in which streaming services dominate our current worldview, Netflix releases its film version of Larson's musical directed by Lin-Manuel Miranda. Bringing the music of Larson's genius to a whole new generation and establishing the essence of the feel good musical once again. At its heart, however, is a deeply raw and emotional story all too real to starving artist of today. Artist who are working to make ends meet in an uncertain world. This is where I applaud S.L.T. Productions and Spanish Lyric Theatre for their programming choice. In a world where even safe shows are a risk, they chose to stage a musical that is so culturally significant at this moment in time, that one would think audiences would come out in droves.

Leading its band of misfits, as Jonathan Larson is Chris Cordero. no stranger to the local stages as he was last seen in MAD Theatre of Tampa's stunning production of Sondheim's Assassins, and prior to that Titanic: The Musical at Carrollwood Cultural Center. Cordero proves he has the vocal power to carry the complexities of a role like Jon and his stage presence is unmatched here. He's grounded when he needs to be, and abandoned the next, making this a stirring turn as the aspiring composer. I just wish here there was a little more grit to his vocal delivery, I need to feel more want from his Jonathan Larson.

A rock score should be delivered with the feeling that all is lost, and all that matters is the music. Embracing the rawness of your voice shows more depth and can take the character to new heights. Larson spared no expense when it came to achieving his ultimate goal. We need to feel that drive, that passion, and at moments it shows, but we need to be gripped from start to finish. His shining moment is the Tri-tone induced Why, where he is truly heartbreaking.

As Larson's best friend Michael, Luis Rivera is exceptional in acting, and character development, but at times vocally he comes across too polished. Michael is dealing with so many demons personally, but also dealing with the struggle of trying to remove himself from his current living situation. Michael wants to excel in life, in work, and personally and we need to feel the journey along with him. Albeit, his rendition of Real Life is truly powerful. For me the depth of his medical struggle was extremely surface based, and I'm unsure if this was Directorial choice or not, but I wanted to feel the emotional difference between his earlier life and the moment in which he found out his prognosis. Luis is a joy to watch, as he not only takes on the role of Michael, but also several others during the performance, and he will be on my radar for future performances.

As Susan, Jon's girlfriend Logan Franke is vocally strong. We understand her relationship with Jon, and her need to better her life in Cape Cod but in its complexity, there should be something further brewing that may not quite be at the surface yet. Her interactions with Jon are great to watch and highlights are the rendition of Therapy and her stirring up-tempo ballad Come to Your Senses. Logan is exceptional in her presence on stage as Susan and the other characters in which she portrays throughout the story. Logan should be commended for her work here.

Spanish Lyric Theatre took a ballsy chance in staging Tick, Tick...Boom! For the audience that attended opening night, it paid off. Yes, the musical is culturally significant, but does it have the ability to sell tickets as well as other options. Yes, Jonathan Larson has a following, but is it true musical significance or a cult following? Will people who are not normally musical people find something to connect with Larson's story?

Technically this show is smooth sailing both in design, and in concept. The use of boxes and plank wood, made the ability to embrace different worlds of the show a breeze. We saw a diner, a rooftop terrace, and a rehearsal hall. The exposed brick wall of the venue added an extra layer of exceptional quality.

My moments of head-scratching come from what I believe to be Directorial choices. For me 30/90 which is a huge behemoth of an opening number even for the most seasoned performer, disregarded all of the reckless abandonment feels that the number should have. It's a driving number that just fell flat for me. This is the first number in which we are introduced to Larson's plight, and it felt very surface to me. He is at his wits end for what it means to turn 30 and not have accomplished his life's goal. Green Green Dress was a great moment to watch, I just wonder if it goes on too long. I know this is a script issue...but I wonder if a shorter option would be more effective. Sunday in concept was beautifully staged. I liked the use of the other performers on stage as the diner guest.

This was definitely a highlight of the evening. No More was a great idea in concept, but the band came across as too loud at times and would drown out the singers. There was also an issue with the follow spot, it felt like the performers were trying to find their light instead of vice-versa. Therapy was great in choreography and staging, but at times it was impossible to make out the lyrics. If an audience member doesn't know the show this could pose problems following the story. Real Life, Sugar, and See Her Smile were all great moments with Real Life being the standout of the three, as we really feel the essence of Michael's plight.

Come to Your Senses vocally was beautiful, but the question remains why was Carissa staged to move so much? This is such a powerful and stirring number, it completely pulled me out of the moment with each move. Pick your times, split the difference, ground yourself and then move. Moving with purpose is important, and in this instance, all-purpose was lost. The Tri-Tone driven Why was beautifully conceptualized. The vocal delivery and the staging worked here, I just wish there was a little more heartache from Jon's character. Louder Than Words worked really well especially when the music drops out and the cast leads in a clap-along moment.

Director Cory Boyas delivered a strong concept and assembled a strong team of performers and designers to help fully realize the world in which the story is set. I wonder about the choice behind the cuts, as Boho Days was not included in the production.

Technically sound Tick, Tick...Boom! is solid. Keith Aresenault's lighting design perfectly evokes the moment to moment in the story. The props construction by Dan Franke works well for the world in which they are trying to convey. The Band led by Xander McColley is strong from top to bottom. I will say there are a few times in which they come across louder than the singers. There were mic issues throughout the night which made it hard to follow at times. I just wish there was a song breakdown in the program for those who do not know the show going in.

For fans of Jonathan Larson, Rent, and Tick, Tick...Boom! then this is the right ticket for you! If you are a fan of musical theatre, and a technically conceptualized show based in human condition, then this production has it all. I wish more theatre companies would take risks such as this, for in the end it may prove to pay off.

I also wish this to start a conversation amongst companies, for in the end we do not need to see 4 to 5 productions of the same show. All it takes is a conversation, and all it takes is for one company to start the dialogue. Unfortunately, Tick, Tick...Boom! is only on-stage through Sunday May 1st. I would 1000% produce a show so culturally significant as this for more than one weekend, expanding the audience and the amount of ticket sales. Tickets can be purchased by visiting www.spanishlyrictheatre.com.

"What if it doesn't go as planned? What if you turn 30 and nothing changed?"

PHOTO CREDIT: SPANISH LYRIC THEATRE/S.L.T PRODUCTIONS

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