Musical (2001)

Musique: Jonathan Larson
Paroles: Jonathan Larson
Livret: Jonathan Larson
Production à la création:

Jonathan's best friend, Michael wants him to join corporate America, and his girlfriend, Susan, wants him to move with her to Cape Cod, but he doesn't want to abandon the musical he's worked on for the past five years and has not yet given up faith that it will be his big break.

Over a persistent ticking sound, Jon 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.” Jon is an aspiring composer for musical theatre, who lives in SoHo, New York. He is nearing his 30th birthday and worries about his aging and lack of achievement (“30/90”). Michael, a friend of Jon’s since childhood, gave up acting to pursue a more lucrative career as a research executive. Susan, Jon's girlfriend, is a dancer who teaches ballet to “wealthy and untalented children.”

Susan and Jon discuss the upcoming 30th birthday party that she is throwing for him. 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 wants to schedule a job interview for Jon with Michael’s firm. Again, Jon is hesitant, but agrees to think it over. Later, on the roof of his apartment building, Jon reveals 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 asks him about the possibility of leaving New York. Susan wants to raise a family and doesn’t view that as compatible with Jon’s “starving artist” lifestyle. Jon is torn between following his dream of composing and 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 phones his parents and then 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. They argue, albeit in a passive and psychological manner that scarcely seems like an argument at all (“Therapy”).

On Monday morning, Jon walks 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…” (“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 “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 could give 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 behave 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 Broadway producers and artists, including Jon’s idol, St----- S-------. Karessa steals the show with her performance of “Come to Your Senses”. The workshop is a success, and Jon gets many congratulations; but 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 a lot 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. Shocked at this news, Jon leaves quickly.

Distressed and alone, Jon wanders through Central Park 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 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 she leaves. Michael gives him a birthday gift of belts (Michael thinks belts are a sign of luxury). The phone rings, and the caller is 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. 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.” Jon sits down at his piano to play “Happy Birthday to You.”

Tick Tick Boom tells the story of an aspiring composer named Jon, 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 autobiographical, as stated by Larson's father in the liner notes of the cast recording – Larson had been trying to establish himself in theatre since the early 1980s.

Larson began to perform the piece as a solo work in 1990. After his death in 1996, it was revised and revamped by playwright David Auburn as a three-actor piece and was premiered off-Broadway in 2001. Since then, the show has had a London production, an American national tour and numerous local productions.

Tick, Tick...Boom! was originally produced Off-Off-Broadway in September 1990 at the Second Stage Theatre and New York Theatre Workshop and The Village Gate (November 1991). Larson performed the show as a "rock monologue," a new form of theatre for the time. The performance attracted the attention of a young producer named Jeffrey Seller, who became a fan of Larson's work. In 1995, he saw the New York Theatre Workshop production of Larson's musical Rent and convinced his fellow producers to bring it to Broadway.

After Larson's death in 1996, producer Victoria Leacock asked David Auburn, author of the Pulitzer Prize-winning play Proof, to reconfigure Tick, Tick...Boom!. Auburn restructured the monologue into a three actor musical, with one actor playing Jon, and the other two actors playing Michael and Susan as well as all the other roles in the show. Also, the script and score were streamlined and edited. This revised version of the piece premiered off-Broadway at the Jane Street Theater on May 23, 2001.

2001 Off-Broadway premiere
The revamped musical premiered off-Broadway at the Jane Street Theater on May 23, 2001 and closed on January 6, 2002. Directed by Scott Schwartz, with choreography by Christopher Gatelli, the cast featured Raúl Esparza as Jon, Jerry Dixon as Michael, and Amy Spanger as Susan. Molly Ringwald and Natascia Diaz later replaced Spanger as Susan and Joey McIntyre replaced Esparza as Jon. The production received seven Drama Desk Award nominations, including Outstanding Musical,[8] and won the Outer Critics Circle Award for Outstanding Off-Broadway Musical; Esparza won an Obie Award for his performance. The original cast recording was released in 2001 by RCA Victor Broadway.
The off-Broadway production was imported to Seoul, South Korea briefly, with McIntyre, Dixon and Diaz making up the cast.

2003 American national tour
A touring production of the show was directed by Schwartz, with Christian Campbell as Jon, Nikki Snelson as Susan and Wilson Cruz as Michael. The tour performed in Dallas, Fort Lauderdale, West Palm Beach, East Lansing, Michigan, Philadelphia, Baltimore, Minneapolis, Hershey, Pennsylvania, Nashville, Washington, D.C., Pittsburgh, Chicago and Boston.[10]

2005 London premiere
tick, tick... BOOM! opened in London at the Menier Chocolate Factory on May 31, 2005, running until August 28, 2005. Again directed by Scott Schwartz, the cast featured Neil Patrick Harris as Jon – later replaced by Christian Campbell – Tee Jaye as Michael, and Cassidy Janson as Susan.

2005-06 California production
A California production ran at the Rubicon Theatre Company in Ventura, California from November 19, 2005 through December 18, 2005. Scott Schwartz directed, with a cast including Andrew Samonsky as Jon, Wilson Cruz as Michael and Natascia Diaz as Susan. The production moved to the Coronet Theatre, West Hollywood, California, through July 16, 2006.

2005 Canadian premiere
A Toronto production was mounted by Acting Up Stage Theatre Company at the Poor Alex Theatre in 2005. The director was Mario D'Alimonte, with a cast featuring Dean Armstrong as Jon, Michael Dufays as Michael and Daphne Moens as Susan.

2009 London West End premiere
tick, tick... BOOM! had its West End première in a limited engagement at the Duchess Theatre from 13–17 May, forming part of the 2009 Notes From New York season. Directed by Hannah Chissick, the cast comprised Paul Keating as Jon, Julie Atherton as Susan and Leon Lopez as Michael.

"30/90" — Company
"Green Green Dress" — Jon, Susan
"Johnny Can't Decide" — Company
"Sunday" — Company
"No More" — Michael, Jon
"Therapy" — Jon, Susan
"Times Square"
"Real Life" — Company
"Sugar" — Company
"See Her Smile" — Company
"Superbia Intro"
"Come to Your Senses" — Karessa
"Why" — Jon
"30/90 Reprise"
"Louder Than Words" — Company

"Sunday", Jon's song at the diner, is based on the Act I Finale from the Stephen Sondheim musical Sunday in the Park with George; Larson conceived it as a humorous homage to Sondheim, one of his largest influences.
Another reference to Sondheim is present in the score of the song, "Why". Not only mentioning West Side Story in the lyrics, the song utilizes the same tritone made famous in the West Side Story song "Maria".
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!

Aucun dossier informatif complémentaire concernant Tick, tick ... BOOM

Aucun dossier informatif complémentaire concernant Tick, tick ... BOOM

Tick, Tick...Boom bears some similarity to Company, written by Larson's idol Stephen Sondheim. For example, in Company, Robert 'celebrates' his 35th birthday much in the way Jon celebrates his 30th, with both shows ending with the blowing out of candles and the cast singing "Happy Birthday to You".

Version 1

tick, tick...BOOM! (2001-06-Jane Street Theatre-Off Broadway)

Type de série: Original
Théâtre: Jane Street Theatre (Broadway (Off) - Etats-Unis)
Durée : 6 mois 3 semaines
Nombre :
Première Preview : 23 May 2001
Première: 13 June 2001
Dernière: 06 January 2002
Mise en scène : Scott Schwartz
Chorégraphie : Christopher Gattelli
Producteur :
Star(s) :

Version 2

tick, tick...BOOM! (2005-06-Menier Chocolate Factory-Londres)

Type de série: Original London
Théâtre: Menier Chocolate Factory (Londres - Angleterre)
Durée : 3 mois 1 semaine
Nombre :
Première Preview : 31 May 2005
Première: 09 June 2005
Dernière: 17 September 2005
Mise en scène : Scott Schwartz
Chorégraphie : Christopher Gattelli
Producteur :
Star(s) :
Avec: Neil Patrick Harris (Jonathan), Cassidy Janson (Susan), Tee Jaye (Michael)
Commentaires : Originally work-shopped in 1990 as a one-person dramatic monologue, but never staged, this was an autobiographical piece by Jonathan Larsen, who would later gain overnight fame as the composer of the musical “Rent” and who died, suddenly at the age of 35, on the eve of the first preview of “Rent”. The work-shop production was revised by the playwright David Auburn into a show for three actors, and ran six months off-Broadway, followed by a US tour and several foreign country productions. This was its UK premiere. It had great interest value, but was ultimately not a particularly successful piece of theatre.

Version 3

tick, tick...BOOM! (2009-05-Duchess Theatre-London)

Type de série: Revival
Théâtre: Duchess Theatre (Londres - Angleterre)
Durée :
Nombre :
Première Preview : 13 May 2009
Première: 13 May 2009
Dernière: 17 May 2009
Mise en scène : Hannah Chissick
Chorégraphie :
Producteur :
Star(s) :
Avec: Paul Keating (Jonathan), Julie Atheron (Susan), Leon Lopez (Michael)
Commentaires : This production was limited to one week only as part of the Notes from New York season. The central performance by Paul Keating was greatly praised, and the story of an aspiring composer wondering if time is running out for him was an especially poignant one since Jonathan Larson had died, aged 36 while his hit show “Rent” was about to bring him acclaim.

 Pas encore de video disponible pour ce spectacle