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Director Scott Schuster has staged a successfully entertaining production of “Tick, Tick … BOOM!” at the Aux Dog Theatre. This work began as a musical monologue written and performed by the frustrated playwright Jonathan Larson in 1990. The play is clearly autobiographical, with the central character named Jon. Like Larson, he wants to write “the show that will reinvent musicals for our generation – the ‘Hair’ of the 90s.” And like Larson, he is approaching his 30th birthday with little to show for his devotion to his craft.
Fast-forward six years and Jonathan Larson’s “Rent” is about to open. It will win the Pulitzer Prize, four Tonys, run for twelve years on Broadway, and revolutionize musical theater. But Larson didn’t see any of this – his undiagnosed aortic aneurysm burst the morning of the scheduled first performance.
As the success of “Rent” became apparent, friends approached David Auburn (author of “Proof”) to turn Larson’s versions of “Tick” into a script for three actors. The music was also arranged for three voices. The result is a fast-paced study of an artist obsessed by time (“tick, tick”) and death (“BOOM!”).
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If you go WHAT: “Tick, Tick … BOOM!” by Jonathan Larson. WHERE: Aux Dog Theatre, 3011 Monte Vista NE. WHEN: Fridays and Saturdays at 8 p.m. through March 3; Sunday, Feb. 17 at 7:30 p.m.; Feb. 24 and March 3 at 2 p.m. HOW MUCH: $18. Call 254-7716 for ticket information. |
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Jon, the play’s “promising young composer,” is days away from the big 3-0 and a workshop presentation of the musical he has been composing for years. His best friend, Michael, is an actor who abandoned his talent to make money in market research. Michael has a BMW with heated seats and an apartment with “parquet floors as waxed as a wealthy girl’s legs.”
Jon’s girlfriend, Susan, is a dancer who teaches ballet to “wealthy and untalented children.” She longs for a home on Cape Cod and children but realizes Jon does not share her dreams.
Karin Pitman has cleverly transformed the Aux Dog stage, surrounding the set with her brooding cityscape. Seah Johnson’s lighting design helps focus audience attention.
Brittany Reinholz is Susan, and Gilbert Sanchez plays Michael. Both also become other characters – as in the homage to Larson’s mentor Stephen Sondheim, a number called “Sunday,” when Jon is a waiter at Sunday brunch.
Reinholz has a bright, resonant voice and is effective as Susan. Sanchez has the best voice of the trio and plays Michael with confidence. His rendition of “Real Life” is a highlight of the show. As Jon, Jason Adam Cox is thoroughly likeable, despite being a bit “pitchy” on occasion. The actors work well together.
Director Schuster managed to put four talented musicians in a small pit on stage, but at times the accompaniment overpowers the vocals. I hope that will be fixed. Larson’s story is compelling, and his lyrics deserve to be heard.
