9 February 2022
One particular might think “tick, mark… BOOM! ” would be the supreme downer. The autobiographical music by Jonathan Larson by no means found commercial success throughout its composer’s lifetime, as well as thematic struggle of innovative integrity versus practical give up and economic reality is unpleasant and all too familiar to a lot of.
Yet the author’s whimsical findings on the greed and superficiality of the Reagan-Bush era, the particular catchy, bouncy score, plus appealing characters whose motives are easily identifiable and relatable caused the new show from Trustus Theatre to seem in my opinion like a feel-good celebration associated with life and art — certainly a welcome respite in these current, troubled situations.
The title represents “the sound of one man’s installation anxiety, ” according to protagonist Jon (Michael Hazin), as soon as thought to be a promising young writer who now fears which he will “break the guarantee, ” turning 30 with no achieving artistic fame plus fortune.
Set in 1990, the particular script vividly documents the particular materialism of the tail finish of the yuppie era, as well as the pressure to make it by age group 30 felt what Jon calls the “boomer juniors, ” i. e. not really the rebel Baby Growth generation fueled by demonstration in the ’60’s and disco in the ’70’s who shut out the ’80’s traveling BMW’s, but their much youthful siblings who muddle by means of life in the shadow of the older peers.
Hazin has generated himself as a master associated with eccentric character roles during the last decade, having memorably pictured the outrageously flamboyant isle chieftain Fighting Prawn within Peter and the Starcatcher, the particular Time-Warping Transylvanian henchman Riff Raff in “The Rugged Horror Show, ” the particular murderous teen J. Deb. in “Heathers: The Music, ” and the groovy zombie-fighter Ash in the musical version of “Evil Dead, inch all at Trustus.
Right here the actor has a opportunity to play sensitive romantic prospect, showcasing impressive vocal abilities and range on ballads such as “See Her Smile” and “Why, ” these not a traditional love track but rather a reflection on the lifetime of good memories together with his best friend.
Katie Leitner plus Andrew Mullin play twelve or more additional characters within Jon’s personal and expert life, but primarily convey girlfriend Susan, an aspiring dancer who gives classes to rich children to produce a living, and best friend Eileen, who gave up acting in support of an easy, lucrative corporate profession in market research. Leitner’s operatic voice is featured within numbers such as “Come for your Senses” — an earlier Larson composition from the show inside the show that protagonist Jon is working on — whilst Trustus and Columbia newbie Mullin not only sings nicely but gets plenty of laughters in vignettes as Jon’s dad-joke-telling dad and his brassy agent Rosa.
An associated four-piece rock band, led along with customary panache by experienced musical director Chris Cockrell on keyboard, performs survive stage. Director Dewey Scott-Wiley successfully takes what might have been a sensitive soul crying about perceived failures in the life and makes each moment poignant and significant.
Much of the score requires one singer to perform to the audience from a mic or piano, or meant for simple duets that signify ordinary conversation; when a lot more choreography is called for, however , Terrance Henderson provides movement for that performers that is appropriate for the particular characters, including vigorous, fitness clowning on “No A lot more, ” an ode towards the joys of attaining a deluxe apartment after years of low income.
Curtis Smoak’s minimalist established design features silhouettes of the city skyline, and several invertible panels that suggest possibly external facades of structures, or interior walls of numerous locales. An elevated platform very easily becomes the roof of a creating with no more than a few attached steps of a fire escape’s step ladder, and subdued lighting through lighting designer Laura Anthony.
Costumes by Heather Gonzalez, especially those for Mullin’s corporate character Michael, are usually authentic and reminiscent of the particular era, while Jacob Olan’s sound cues for several telephone calls and the haunting, titular “tick… tick… ” arrive right when and where they are required.
Part of this production’s enormous appeal for me was the universality. The trope from the struggling/starving artist and the concept of the artist’s journey are popular for centuries, and they are present in Larson’s later work as properly.
And while Larson initially carried out this material as a music monologue at the piano, obviously identifying himself as the protagonist Jon, this incarnation — redesigned for three performers simply by playwright David Auburn who else graciously took only a credit score as “script consultant” — ends at a pivotal time in Jon’s life, which usually he describes as a “pre-midlife crisis. “
Not knowing your decision he will make, and becoming as clueless as he is really as to whether things works out or not, is a substantial part of the work’s innate attraction, and is crucial to that “feel-good” sensation I referenced over — along with two hrs of peppy, instantly hummable melodies.