Good Time Theatrics brings Jonathan Larson’s Tick, Tick…Boom!, considered his semi-autobiographical love letter to Broadway, to Australia’s last remaining pub theatre: the Old Fitz. Kurtis Laing’s direction extends the recent revitalisation of the musical, in part due to Lin Manuel Miranda’s 2021 Oscar-nominated screen adaptation, starring Andrew Garfield.
The sound of tick … tick … tick-ing playing over the speakers as I entered the Old Fitz Theatre was cleverly on the nose, and I couldn’t help but smile as I took my seat. While this may be a creative initiative by the sound designer (Chaii Ki Chapman), or the director (Kurtis Laing), it was a clever way to build the audience’s anticipation. Indeed, time is the ever-present fourth character in the show, driving forward the plot and emotion.
Jonathan (Brodie Masini) is about to turn 30. With little more to show for his age other than an unfinished musical, Superbia, and ostracism from the corporate world, Jonathan’s perpetual swing on the pendulum of restlessness and creativity intertwine with the ticking of time in his rush to create something to be remembered. However, Susan (Tessa Olsson), his girlfriend, is restless to leave New York. What unfolds includes hilarious dialogue, miscommunications and deeply emotional introspection; a meditation on feeling lost in your youth and the consequences of prioritising creativity above all else. Despite the abundance of humour, a distinctly poignant tone emerges when considering Larson’s biography. His tragic and unexpected death the night before the premiere of his musical, RENT, means he would never be witness to his achievement that was met with critical acclaim and changed the face of musical theatre.
Masini’s performance as Jonathan was outstanding. It is no slight achievement to consistently tackle the show’s complex songs and harmonies in a 90-minute run time without intervals. His interpretation of Jonathan’s character — infusing his performance with frantic energy and achingly resonant intonations — felt more personable and less performative, despite the theatrical context. Olsson’s powerful rendition of the show’s ballad ‘Come To Your Senses’ added dramatic depth in the lead-up to the show’s finale. The directive choice surrounding the song ‘Therapy’ was greatly effective and humorous in comparison to Miranda’s screen adaptation through the choice to situate the song in the context of a prolonged argument between Susan and Jonathan.
On this night, Michael’s role was performed by Juliette Coleman instead of Hamish Wells, due to an ill-timed sickness. Also acting as the movement director and vocal coach for the production, Coleman’s performance and professionality kept the show running as smoothly as it could in such circumstances. Other than their acting, Coleman’s movement direction must be praised, specifically the synchronisation of all cast members during musical numbers, mirroring the music’s dynamic energy and the movement of New York City, specifically in the performance of ‘Sunday’, set in an overcrowded diner. However, when coupled with a relatively sparse set design, the show lacked the vibrancy of the NYC creative world.
Opting for a live band (Aaron Bonduriansky on guitar, Dominic Yeap-Holliday on bass, Finn Johnson on percussion) instead of pre-recorded musical accompaniment was a unique addition to the performance’s visceral atmosphere, anchored by Iris Wu’s musical direction. However, the difficulty of playing for a 90-minute run time without intervals did not escape me nor the audience, and the mis-timing of some musicians occasionally interrupted the flow of the show, and the misjudged volume control of amps and microphones by the sound designer (Chapman) obscured the voices of the cast.
It was cathartic to end a show that centres around the passing of time with a birthday, and even more so when the stage was illuminated by a single birthday candle on a table in front of Masini. The intimate theatre allowed the audience to see Masini’s dimly lit face moments before blowing out the candle, leaving the audience in total darkness. The lighting recalls holding torches to chins as children when telling frightening stories, and is perhaps a nod to an ever-slipping childhood where future potential feels endless and achievements don’t have expiration dates. I like to think of Masini’s smile when blowing the candles out as a final sign of peace with his creative turmoil. Perhaps a birthday isn’t the end of our life — metaphorically, creatively, or professionally — after all.
Tick Tick … Boom! plays from 16 – 26 July 2024 at the Old Fitz Theatre. Tickets can be found here.
