Walking into the Tone Deaf Theatre Company’s final performance of Tick, Tick… Boom! my expectations were high, following a plethora of outstanding reviews praising the show to no end, accompanied by the general buzz of anticipation as audience members took their seats. Tick, Tick… Boom! by Jonathan Larson explores the lives of those dedicated to the arts; a composer, a dancer, and an actor, revealing the struggles in daily life for artists in 1990s New York amidst the AIDS epidemic, financial struggles, and social unrest. Directed by Hannah Thomas, assisted by Dylan Jimenez, Tom Carroll played Jon, alongside Midun Odunaiya as Michael, and Misha Joshi as Susan.
While the City Theatre felt cramped at times, with audience members in the front row almost being onstage themselves, meaning the directness of the show was somewhat intimidating, the musical itself was large. The band must be complimented before all others, specifically pianist Callum Madeley, who captivated my attention from the beginning of the show. Without the band, quite obviously the show would not have been able to go on, but their masterful performances elevated it in such a way that allowed Larson’s composition to be lived, not just experienced. Major applause must be provided to the musicians of Tick, Tick… Boom! for their stellar performances, as well as the tech crew. My initial impression of the show was impacted by the amazing lighting choices of Lighting designer Ana Stinson and operator George Murray, specifically the red lighting on Michael as he revealed his sickness to Jon, who was contrastingly in white light, forcing the audience to encounter the differences his illness presented. Additionally, the flashes of light alongside Jon’s ‘tick tick boom’s during the opening monologue of the show framed the musical, whilst engaging the audience.
Not only was the show brilliant to observe, but it looked genuinely fun to perform: watching Carroll and Odunaiya dance together in the performance of ‘No More’ left all in fits of laughter, a testament to Alex Wishart’s choreography. The actors balanced jovial entertainment with truthful emotion wonderfully, fully immersing the audience in the world of Larson’s creation, especially with the multi-rolling within the three-member cast. Admittedly, I felt the small cast did present issues with the amount of dialogue in the board room scene, wherein ideas are bounced around during Jon’s attempt at working outside of the artistic field with Michael. I found the lines given to the band simply did not work within the scene, as it drew more attention to the issue of the small cast as opposed to dispelling such, and did not do the quippy dialogue justice, despite the very creative solution it was.
As a trio however, the actors worked wonderfully; their harmonising vocals throughout the show were amazing, and some of the strongest musical moments in the show resulted from their combined efforts, despite the occasional lack of chemistry between the love interests. Odunaiya particularly shone when it came to the multi-rolling. He was able to give distinction to the characters he played, and did a wonderful job of making me laugh aloud in his characterisation of Rosa while Joshi was playing Karessa in the same scene- an innovative solution which was a brilliant choice. In his portrayal of Michael, Odunaiya has forever rewritten Larson’s work; his face will now always be the one I picture when thinking of the role – this is the highest compliment I could ever wish to bestow. Odunaiya was simply perfect in the role, and his chemistry with Carroll made them very believable best friends.
Joshi must be complimented on her beautiful voice, which at times was unfortunately impeded by microphone issues. She was captivating, both as Susan and Karessa (and indeed comedic agent Rosa), and it must be said that it was difficult to take my eyes off her whenever she was on stage. Her acting was stunning, what with the deep emotional turmoil Susan is subject to, deciding between loving Jon and protecting her own values and desires, and her dancing in ‘Green Green Dress’ was enchanting; Joshi is a spectacular performer, a true triple threat that I look forward to seeing in future productions.
Carroll’s line delivery was very nice, specifically his well-rehearsed comedic timing in ‘Sunday’, in which it was brilliant to see him show off his wide vocal range. His interpretation of Jon was well received, allowing for a very dynamic performance. Jon’s acceptance of change in the final moments of the show was inspiring, and Carroll did an incredible job of leaving the audience in good spirits following the emotional rollercoaster of a musical.
When I think back to TDTC’s performance of Tick, Tick… Boom!, I will have one image permanently arise: the television springing into action during ‘Why’. Carroll’s hauntingly emotional vocals alongside the videos of rehearsals, cast friendships, and the clips of children performing will forever move me; this surprise detail of the television was incredibly innovative, and production manager Stuart Wood, and his assistant Willow Raynor deserve the highest praise for this choice.
The show is best summarised in the final moments of ‘Louder Than Words’, wherein it no longer felt like I was watching a musical about three artists, but watching three friends share in joy, dispelling the barrier and bringing the show to a very personal point. TDTC’s Tick, Tick… Boom! was poignant, personal, and a beautiful nod to all those involved in the arts.
Poster taken from @tdtcdurham Instagram.