But the concept (if that’s the right word) is legitimately rooted in Larson’s nonconformist East Village 1990s milieu. Tick, TickBoom revived by the Keen Company in an affectionate, emotionally slight production, is a youthful work by a musical theater composer who never got to grow old. It’s a contemporary application in terms of explicit terminology, of course, and it chooses not to worry about evoking the very real people Larson was writing about in the AIDS era. He was named Gawad Buhay Best Actor both for his performance in a dramatic play (This is Our Youth) and for his performance in a musical play (tick, tickBOOM). Given that Larson died at 35 of an aortic aneurysm in 1996, an incalculable loss, the show has (for those of us who admired him so much) long been freighted with emotion.īoHo’s production, directed by Bo Frazier, is billed as an “all trans and gender-nonconforming production” and, toward the end, the show’s anthemic number “Louder than Words,” becomes a celebration of the aspirations of that community (”cages or wings, which do you prefer?”). Susan Company Dancer 2 (as Jennifer Laroche) Lauren Yalango-Grant. ‘Tick, Tick Boom’ Review: Lin-Manuel Miranda Makes ‘Rent’ Creator Jonathan Larson’s Self-Portrait Feel Even More Personal Andrew Garfield captures the creative anxiety that tortured. ![]() It’s a show to which Chicago’s young theater artists long have related: I remember a musically spectacular 2006 Pegasus Players version with future “Jersey Boy” Michael Ingersoll, Jess Godwin and Quinton Guyton and even a terrific 2003 tour downtown directed by Scott Schwartz.
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