“A true love letter to the world of the arts that gives an unfiltered depiction of the ‘bohemian life’, a reminder of the beauty and humanity of arts, and why we should protect them at all costs.
The silhouette of a man at the piano, outlined in gold. A hopeful beam of light breaks across the darkness… You would have to have been living under a rock not to have seen the stunning posters for Tick, Tick… Boom, designed the wonderful Alexandra Tyler (assisted by Joachim Price). They promise a spectacle, and indeed, this show delivers.
Tick, Tick… Boom is a semi-autobiographical musical, following composer Jonathan Larson (Tom Carroll) as he approaches thirty and tries to avoid a mid-life crisis having not yet written a hit musical. His best friend Michael (Midun Odunaiya) has retired from acting, and encourages Jon to join him in the well-paid but superficial career of marketing, while his girlfriend Susan (Misha Joshi) has got a job as a dance teacher outside New York, and wants him to consider leaving the city.
Directed by the debuting Hannah Thomas (assisted by Dylan Jiminez), Carroll is warm and charismatic, as he sits in his cramped and cluttered 90s soho apartment, addressing the audience with an intimacy that could only have been achieved in the City Theatre venue. The song ‘30/90’ opens the show with a bang, as Caroll is joined by Joshi and Odunaiya, whose voices blend gorgeously in close harmony that has clearly been well rehearsed by their musical directors Ros Morgan and Hannah Tunnicliffe. Ana Stinson’s lighting design is innovative, as it punctuates Jonathan’s ‘tick, tick, booms’ with correlating spurts and flashes of light.
All three actors are vocal powerhouses, supported by a fantastic band who don’t miss a beat (and even participate as actors at points), making catchy numbers like Green Green Dress an absolute joy to watch as Joshi and Carroll effortlessly glide around the cramped 90s apartment. Wishart’s choreography is ambitious and well executed, showcasing the chemistry between Jonathan and Susan. It is hard to believe that Carroll actually sings bass in his acapella group, ‘Footnotes. Such is his impressive range, and his vocal control and agility cannot go unpraised as he effortlessly transitions from singing bass, belting tenor, and crooning falsetto. ‘No More’ is another spectacular number made hilarious through its choreography, as Jonathan and Michael compare their soho flat as they dance with sharp angularity to Michael’s new luxurious apartment, around which the two men tip toe and leap like ballerinas.
A credit to TDTC’s niche, Thomas’ work on multirolling is evident and hugely effective as Odunaiya and Joshi switch fluidly and clearly between characters. Odunaiya’s impression of Jonathan’s father is confidently entertaining, whilst Joshi’s portrayal of the needy actor Karessa and her bubbly personality is imbued with hilarity. Her solo, ‘Come to Your Senses’ was an absolute stand out number, as Joshi’s voice soared with ease over high notes, performing complex riffs cleanly, all coloured with her gorgeous vibrato. A personal favourite performance was the character of Jonathan’s iconic New Yorker agent, who was played by both actors, using simply a cigarette and a shawl to completely embody her personality. Odunaiya’s comedic ability is unmatched, with his timing and his physicality never failing to amuse, even when just sitting in his BMW.
Equally, this show is not afraid to tacking more serious moments. Despite the benefits of his high-flying travelling job, Michael longs to settle down, his frustration perfectly encapsulated by Odunaiya in the number ‘Real Life’, as he delivers a fantastic performance with real emotional depth and immense vocal skill. Furthermore, set during the aftermath of the AIDS crisis, the show addresses the wounds and losses experienced by the queer community, which in fact go on to inspire Jonathan to write the hit LGBTQ+ musical, ‘Rent’. All three performers are soloists in their own right, and yet they blend and work together to create a slick entertaining show, aided by the fantastic production manager Stuart Wood and assisted by Willow Rayner. One must also praise the cast, who are all first year students, for their ceaseless professionalism throughout, even as they battle some of the more fiery challenges of an external venue like City Theatre.
If you have ninety minutes to spare, you simply cannot miss this show. It is a true love letter to the world of the arts that gives an unfiltered depiction of the ‘bohemian life’, a reminder of the beauty and humanity of arts, and why we should protect them at all costs.