If you are approaching a certain age, perhaps your anxiety sounds something like this: tick, tick, tick, tick, tick, tick, tick, tick.
Maybe you’re worried that time is running out for you to achieve something great. If that’s the case, then you should be able to identify with Jonathan. He is the protagonist of the semi-autobiographical musical, “tick, tick...BOOM!”
More specifically, that character is Jonathan Larson. Chances are, you know him as the librettist, lyricist, and composer of the Tony-Award and Pulitzer-Prize-winning musical, “Rent.” But you may be unfamiliar with Larson’s life – and tragic sudden death – before “Rent’s” tremendous success made him famous.
The 1990-set “tick, tick...BOOM!,” which tells part of Larson’s story before he became an award-winning artist, is receiving a fine professional production at Actors’ Playhouse at the Miracle Theatre in Coral Gables through Sunday, Dec. 8.
As he did for “Rent,” Larson penned the book for his semi-autobiographical musical, created the lyrics, and composed the music.
Actors’ Playhouse’s roughly 95-minute intermission-less production features a cast of talented performers who believably portray relatable characters under Andy Señor Jr.’s astute direction.
Broadway actor and Actors’ Playhouse newcomer Adam Kantor, who is no stranger to Larson’s work, plays Jon.
Kantor’s castmates are Miami native María Bilbao, who primarily plays Jon’s girlfriend, Susan, and Nate Promkul, a South Florida performer whose main role is Jon’s lifelong friend, Michael. The cast also includes New York-based actor and composer Zach Spound steps in as Jon for the Saturday, Nov. 23 and Sunday, Nov. 24 production.
While Kantor portrays only Jon, Bilbao and Promkul seamlessly step in and out of the skin of multiple characters.
In addition to acting, the performers, with live band accompaniment, deftly sing 13 songs that comprise the show’s exhilarating and eclectic score. It includes multiple musical theater styles and features a mix of intense melodies and quieter, more contemplative ones. The live band, which produces a rich sound without drowning out the performers, includes David Nagy as keyboardist and conductor, Julie Jacobs on drums, Greg Minnick on guitar, and Jeff Carswell as well as Ranses Colon on bass.
The show’s score offers us proof beyond Larson’s achievements in “Rent” of the kind of talent that the young writer possessed. For example, one of “tick, tick...BOOM!’s songs, “Sunday,” includes similar chords and rhythms to Stephen Sondheim’s similarly titled song, “Sunday,” in one of the master’s shows, “Sunday in the Park with George.” It’s fair to assume that Larson’s song, “Sunday” is a tribute to Sondheim, one of Larson’s idols.
Unfortunately, Larson, 35, died suddenly in 1996 of an aortic dissection (a tear in the inner layer of the aorta) the night before an Off-Broadway production of “Rent” began previews. Therefore, he did not live to enjoy the many accolades that critics and others heaped upon “Rent.”
Among other things, “Rent,” which relates a tale of struggling artists in New York City’s East Village during the height of the AIDS epidemic, established new forms of music in musical theater. For instance, the show combined contemporary music with Broadway tradition.
While many considered “Rent” groundbreaking and unconventional, the subject matter in “tick, tick...BOOM!” is nothing new. Indeed, Larson’s semi-autobiographical musical tells the familiar tale of a struggling artist. However, without question, it’s a tale worth telling and repeating. Truly, artists enrich our lives by, for instance, entertaining us, enlightening us, and moving us to think as well as take action. Therefore, we should know about their dedication to their craft, and what they sacrifice to make quality art.
When “tick, tick...BOOM!” begins, the protagonist is about to turn 30 and feels he is running out of time to produce something truly great. He’s a promising composer who has “been promising for so long I’m afraid I’m starting to break the...promise.” Further, Jonathan’s agent won’t return his calls, and he can barely afford the rent on his apartment on the edge of SoHo.
While he works at his craft and hopes to create the great American musical, Jonathan waits on tables at a diner. Meanwhile, the people in Jonathan’s life harbor ambitions as well. His girlfriend, Susan, a dance teacher, wants to marry Jonathan and move with him out of the city to Cape Cape in Massachusetts. Then there is Michael, Jonathan’s life-long friend and roommate who has recently given up acting and become a successful marketing executive. At least once, Michael has suggested to Jonathan that he apply for a job at his firm.
But despite pressure from Susan and Michael, Jonathan seems content to continue waiting on tables and trying his best to create a great show. He wants to create meaningful and memorable music as much as struggling musician Roger Davis in “Rent” wishes to move others with song.
“tick, tick...BOOM!” is an engaging show with stirring music, heartfelt and descriptive lyrics, humor, and themes that speak to us regardless of our station in life. Certainly, you do not have to be an artist or love live theater to find something relatable in Larson’s musical. It encourages us to chase and hold fast to our dreams, and touches on a universal fear of dying and leaving no legacy behind. But keep persevering, Larson seems to tell us; you never know when you will receive that one call that may change your life. Of course, supportive people in your life are also important to help you remain hopeful, the musical also suggests. But when it comes to being unconditionally supportive, Jonathan tests the limits of people such as his girlfriend. After all, she has her own needs and desires.
Bilbao is believable in the role as a devoted, charming, and tender young woman who cares deeply about her boyfriend and wants the best for him. Certainly, truly tender moments believably transpire between the two. But Bilbao also deftly conveys an independent and ambitious streak that makes you want great things for Susan as well as Jonathan.
As Michael, the versatile Promkul imbues the character with a convincing air of contentment. More specifically, we gather that this young man believes he made the right decision to give up acting for his new lucrative position. Like Bilbao’s Susan, Promkul’s Michael demonstrates credible compassion toward Jonathan. And strong chemistry exists between Promkul’s Michael and Kantor’s Jonathan, suggesting that the pair have been almost inseparable since their childhood. But we also sense tension between the two men. During such moments, Promkul conveys disappointment without Michael coming across as a jerk.
From the moment he steps on stage, Kantor makes Jonathan a likable character. In particular, he is charming, modest, determined, and clearly deeply passionate about his craft. Also, without resorting to self-pity, Kantor’s Jonathan clearly becomes exasperated and overwhelmed when things don’t go his way. For instance, Kantor runs his hand through his head and audibly breathes harder when frustration is overtaking Jonathan.
The actors perform on scenic designer Frank J. Oliva’s realistic, spacious, and detailed depiction of Jonathan and Michael’s apartment. It appears neat and orderly, suggesting a space that is livable but nothing fancy. Oliva’s design allows for simple and seamless adjustments to suggest other locales when the action takes place outside Jonathan and Michael’s home.
To his credit, lighting designer Eric Nelson knows when to employ intense illumination and when to tone the lighting down for a more contemplative, romantic atmosphere. For example, during the song “Sunday,” a moment of emphasis, the lighting is bright.
Ellis Tillman designed the period costumes, while Reidar Sorensen’s sound design makes it easy to hear and understand the performers. Sorensen also created the titular ticking and explosive sounds that lend the production extra tension.
Under Señor’s guidance, the production’s pace seems just right. As you’ll read in the program, the director has extensive experience with Larson’s work and it shows in this production. It unfolds seamlessly and never fails to move us.
“tick, tick...BOOM!” is not a perfect show. It could, for instance, include more insight into Jonathan’s creative process, although we learn what he does when he gets overwhelmed (certainly, the playful number “Sugar” unites all of us who suffer from a sweet tooth, craving sugar when life becomes too hard).
In the final analysis, “tick, tick...BOOM!” is a fitting tribute to a seemingly gentle, determined, and talented individual who had a lot to live for. Unfortunately, we can only wonder about the many great things Larson might have achieved had he lived longer. Fortunately, Actors’ Playhouse’s winning production brings Larson to vivid life. And after the curtain closes, we don’t want to leave him.
IF YOU GO
- WHAT: Actors’ Playhouse’s production of “tick, tick...BOOM!”
- WHEN: Through Sunday, Dec. 8. Performances are at 8 p.m. Wednesday through Saturday and matinees at 3 p.m. Sunday.
- WHERE: Actors’ Playhouse at the Miracle Theatre, 280 Miracle Mile in Coral Gables.
- TICKETS: Ticket prices range from $45 to $100. You can purchase tickets by calling (305) 444-9293, visiting www.actorsplayhouse.org, or at the box office, 280 Miracle Mile in Coral Gables. The theater offers 10 percent off all weekday performances for seniors and $15 student rush tickets to any performance 15 minutes before curtain with identification. Actors’ Playhouse offers group discounted rates for 10 patrons or more through the group sales department at (305) 444-9293 ext. 2 or on www.actorsplayhouse.org