Tick, Tick... BOOM!
From Wikipedia, the free encyclopedia
tick, tick... BOOM! is a musical written by American composer Jonathan Larson.
tick, tick... BOOM! tells the story of an aspiring composer named Jonathan (Jon or Johnny) who lives in New York City in 1990. Jon is worried he has made the wrong career choice to be part of the performing arts. The story is considered to be autobiographical, as stated by Larson's father in the liner notes of the cast recording. It was originally produced Off-Off-Broadway as a rock monologue, a new form of theatre for the time. Larson's later work includes the musical Rent.
A significant result of the original run of the show, when Larson still performed the show himself, was that it attracted the attention of a young producer named Jeffrey Seller, who became a fan of Larson's work after seeing it and connecting with it personally. Although he never felt he could sell tick, tick...BOOM!, his interest in Larson would continue into 1995 when he saw the NYTW production of Rent and convinced his fellow producers to bring it to Broadway.
Contents |
[edit] Synopsis
Tick, Tick... BOOM! opens to a dark stage; the only audio is a persistent ticking sound. Over this sound, Jon, the main character, introduces himself: “The sound you are hearing is not a technical problem. It is not a musical cue. It is not a joke. It is the sound of one man's mounting anxiety. I ... am that man.”
The audience learns that Jon is an aspiring composer for musical theatre who lives in SoHo, New York; and that he is nearing his thirtieth birthday. Jon expresses worries about his aging and lack of achievement (“30/90”). As he laments these issues, the audience meets Michael, a friend of Jon’s since childhood, and Susan, Jon’s girlfriend. Michael was an aspiring actor, but gave up acting to pursue a more lucrative career as a research executive. Susan is a dancer who supports herself teaching ballet to “wealthy and untalented children.”
“30/90” also introduces other conflicts. Susan and Jon discuss the upcoming 30th birthday party Susan is throwing for Jon. She pressures him to play “Happy Birthday to You” to himself on the piano at the party, but he is hesitant because it reminds him of the aging aspect of birthdays. Michael then asks Jon to allow him to schedule Jon an interview with Michael’s firm. Again, Jon is hesitant, but agrees to think it over.
Later, while on the roof of his apartment building, Jon reveals to the audience that he is also nervous about an upcoming workshop of his newest musical, SUPERBIA. Susan comes to join him; he comments on her dress and how beautiful it makes her look (“Green Green Dress”).
The next morning, Jon is awake early. Susan greets him, and asks him about the possibility of leaving New York. Here, another conflict is revealed; Susan wants to raise a family and doesn’t view that as compatible with Jon’s “starving artist” lifestyle. Jon reflects on his dilemma of following his dream of composing, or opting for security and family in a different career. Meanwhile, the other two main characters recap their views on what Jon should do (“Johnny Can’t Decide”). Jon’s reverie, however, is cut short; he needs to report to his day job as a waiter in a SoHo diner (“Sunday”).
After work, Michael picks Jon up in his brand new BMW to show Jon his new apartment. Michael exults at the thought of a life of luxury (“No More”), and pressures Jon further to consider changing his career path. Frustrated, Jon finally agrees to accompany Michael to work the next day and visit a brainstorming session at his firm.
Back at home, Jon has phone conversations with his parents, and then with his agent. He plans to spend the remainder of the evening composing, but he is interrupted by a call from Susan, who wants to see him. This dilemma causes the couple to argue, albeit in a passive and psychological manner that scarcely seems like an argument at all (“Therapy”).
The next scene begins on Monday morning, with Jon walking to Michael’s office for his brainstorming session. On the way, Jon thinks back to a workshop in which his work was reviewed by a composer “so legendary his name may not be uttered aloud…” at this point the composer in question is referred to only as “St----- S-------.” He also worries about his musical style and its place on Broadway, but has little time to develop this train of thought before he arrives at Michael’s firm.
The brainstorming session involves naming a cooking fat substitute through a convoluted and inefficient “idea-generating” process. Jon sees the futility of the process, and his unwillingness to cooperate gets him removed from the meeting. Later, as Jon drives Michael to the airport for a business trip, they argue about the meeting. Michael tells Jon that the life Susan wants doesn’t sound bad, and that he wishes his job allowed him the chance to settle down (“Real Life”).
After dropping Michael off, Jon goes to a rehearsal for SUPERBIA, but not before stopping to get a snack of Twinkies (“Sugar”). At the market, he spies Karessa Johnson, one of his actors for SUPERBIA. She reveals a similar weakness for Twinkies, and this leads to a sudden friendship between the two. After the rehearsal, Susan sees Jon and Karessa walking together and becomes jealous. She informs Jon that she’s gotten a job in Northampton, Massachusetts which may be permanent. Jon and Susan argue about the state of their relationship; in a turnaround from the events leading up to “Therapy,” Jon begs Susan to stay and be with him. Despite this, she leaves for home, and Jon thinks about what may have happened to make her this way (“See Her Smile”).
The next morning, Jon arrives early at the theatre for the workshop of ‘’SUPERBIA.’’ Although initially the theatre is empty, soon it is filled with very important people: Jon’s family and friends, as well as Brodaway producers and artists, including Jon’s idol, St----- S-------. Karessa steals the show with her performance of “Come to Your Senses,” a solo from SUPERBIA. The workshop is a success, and Jon gets many congratulations. However, he is devastated; despite all the kind words, there are no offers to produce SUPERBIA on or off Broadway. Jon is no closer to being a professional composer, and so, in his eyes, the workshop has been a failure.
After the workshop, Jon visits Michael and tells him that he is through with music. For the first time, though, Michael tries to persuade him to stick with it. Michael says that while he enjoys how he makes alot more money now than he did as a starving artist, he finds the job itself to be emotionally banal and unrewarding. The two argue, and Jon yells at Michael for not understanding fear or insecurity. Michael responds by telling Jon that he is HIV-positive, tacitly saying that he understands fear quite profoundly. Shocked at this news, Jon leaves quickly.
Distressed and alone, Jon wanders until he finds himself in the abandoned theater inside Belvedere Castle. He finds an old rehearsal piano, and begins to play it while collecting his thoughts. Jon ponders on whether the amount of sacrifice required for his career in music is worth it, and whether those telling him to “have it all, play the game” are right (“Why”). Ultimately, he realizes that he will only be happy as a professional composer, no matter what hardships that may bring.
The next morning is Jon’s thirtieth birthday party (“30/90 Reprise”). He first sees Susan, who is getting ready to leave. She gives him his birthday gift: a thousand sheets of blank manuscript paper. They agree to write to each other, and Susan leaves. Next Michael approaches, giving him a birthday gift of belts (Michael had identified having multiple belts as a sign of luxury earlier in the show). They reaffirm their friendship as the phone rings. The caller is St----- S-------, revealed now to be Broadway legend Stephen Sondheim. Sondheim leaves Jon his contact information so they can meet and discuss SUPERBIA. Jon realizes that he is surrounded by friends and that his talents are finally being recognized. As he says, “the tick tick booms are softer now. I can barely hear them, and I think if I play loud enough I can drown them out completely.” The three main characters sing that actions speak “Louder Than Words” as Jon sits down at his piano to play “Happy Birthday to You.” The play concludes with the rock-sounds of "30-90 Playout."
[edit] Original Off-Broadway Production
The musical was produced off-Broadway in 2001 with a number of changes. First, it was changed from a one-character play to a three-character play; the actor playing Jon plays that role throughout the show, but the actors playing Michael and Susan are responsible for all the other roles in the show. Also, the script and score were streamlined and edited. This production had a cast recording produced and is licensed for production by Music Theatre International.
The cast was as follows:
- Raúl Esparza as Jon
- Jerry Dixon as Michael
- Amy Spanger as Susan
- Molly Ringwald replaced Amy Spanger as Susan in 2001
- Joey McIntyre replaced Raúl Esparza as Jon in 2001
Directed by Scott Schwartz.
[edit] Original London Production
It was produced in London in June 2005 at the Menier Chocolate Factory.
The cast was as follows:
- Neil Patrick Harris as Jon (Christian Campbell from July)
- Tee Jaye as Michael
- Cassidy Janson as Susan
Directed by Scott Schwartz.
[edit] West Coast Premier at the Rubicon Theatre Company
- Andrew Samonsky as Jon
- Wilson Cruz as Michael
- Natascia Diaz as Susan
Directed by Scott Schwartz.
For more information visit http://www.ticktickboomthemusical.com
[edit] Los Angeles Premier at the Coronet Theatre (opened June 2006 - August 2006)
- Andrew Samonsky as Jon
- Wilson Cruz as Michael
- Tami Tappan Damiano as Susan
Directed by Scott Schwartz.
For more information visit http://www.ticktickboomthemusical.com
[edit] Musical Numbers
- 30/90 (Key of C. Change to D near end)
- Green Green Dress (Key of Eb)
- Johnny Can't Decide (Key of F)
- Sunday (Key of Bb)
- No More (Key of D. Change to G near end)
- Therapy (Key of C)
- Real Life
- Sugar
- See Her Smile
- Come to Your Senses
- Why
- Louder Than Words
- 30/90 Playout
"Sunday", Jon's song at the diner, is based heavily on the Act I Finale from the Stephen Sondheim musical Sunday in the Park with George; Larson concieved it as a humorous homage to Sondheim, one of his largest influences. On the cast recording there is an additional song cut from the final version of the show, "Boho Days". This track is one of the few recordings of Larson's voice publicly available. It was extracted from a demo tape recorded by Larson during the development of tick, tick... BOOM!
[edit] External links
- tick...tick...BOOM! The Musical
- Raul Esparza - Downstage Center interview at American Theatre Wing.org, April 2005
