Low DownTick, Tick... Boom! is a musical about the courage it takes to follow your dreams. This is Jonathan Larson's (author of Rent) autobiographical (and posthumously produced) tale of a young composer on the brink of turning 30 and falling into oblivion. His girlfriend wants to get married and move out of the city (TICK,), his best friend is making big bucks on Madison Avenue (TICK...), yet Jon is still waiting on tables and trying to write the great American musical (BOOM!). Review
Prior to hitting Broadway with Rent, Jonathan Larson created and performed in Tick Tick Boom - an autobiographical off-Broadway rock monologue which was subsequently turned into a three-hander. Also a nineties’ contemporary musical set in the New York City of the (as depicted) “boring and safe decade” of the twentieth century, the story focuses on the aspirations and struggles of composer Jon. Feeling the pressure with the imminent arrival of his thirtieth birthday, everything depends on the upcoming workshop opening of his new musical Superbia.
Running at an unconventional one and a half hours (without interval) and accompaniment consisting solely of grand piano and funky keyboard riffing, we are nevertheless sufficiently involved enough in the story to distract us from the lack of a loo break. The script includes large quantities of solo discourse and explanations a la “this is so-and-so- he does/feels such-and-such”. This could get tedious and seem almost amateurish, yet throwing some suitable intermittent dialogue and a couple of rather witty songs into the mix, manages to keep us intrigued and hooked.
Particularly the rather brilliant homage to Larson’s idol Sondheim and his creation Sunday (aptly comically re-worded and now set in a New York City brunch diner), generates plenty amount of enthusiastic reaction from the audience. Influences from Mr S continue to be found, including direct lyrical references to West Side Story and finally, a fictitious call to the main character by the renowned man himself. Parallels to Rentare noticeable in so much as that repetition of principal words and terms (in this case tick, tick, boom and 30/90) persist throughout the writing.
Ashley Campbell as angst-ridden lead figure Jon takes a while to settle into this rather mammoth role. However we do end up rooting for him, particularly in the second half of the show when he is put through the emotional wringer to the extent that even the toughest tumble dryer would balk at. Olivier award winner Leanne Jones is undoubtedly a powerhouse of a talent, proving that she has the acting chops to tackle the opposite end of the spectrum to Tracy in Hairspray. Less of fog horn approach to her interpretation of the score might have been recommendable though, as she sometimes manages to uncomfortably overpower in group harmonies. I also believe there are roles better suited to Jones, who as a rather sturdy character actress in the role of Susan (described as “an auditioning Broadway dancer”), seems perhaps a rather eccentric casting choice. Adam Rhys-Davies is a very competent performer who effortlessly jumps between accents and characters managing to combine energy with subtlety. His unobvious and truthful portrayal of actor-turned-marketing exec best friend Michael really shows this off best.
The Union Theatre is a quirky, almost factory-like space that in some ways seems like an unrefined version of the Menier Chocolate Factory. And yet, the rather stark-like setting and bare brick walls suit the rehearsal room type atmosphere necessitated by the storyline. All in all, Tick Tick Boom ticks along nicely - but the advocated “big boom” never quite materialises to really hurtle us out of out seats with anticipation.
Reviewed by Jennifer Reischel 19 May - 5 June 2010 Website : |
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