![]() The film is set amongst the Bohemian faction of New York of the period, but it doesn't quite have the off-center tilt of a Bob Fosse film-Fosse being a formidable player in the Bohemian musical scene. The songs are engaging and staged with a feel-good choreography that consists less of formalized dance (for the most part) than it does gleeful bursts of movement. Tick, Tick…Boom! packs a great deal of joy into a story that pushes a more modern and darker take on the make-it-or-break-it mantra of classic ‘40s musicals. Now Larson has a week to pull together a band and write a much-needed song for the second act.īut life has a way of invading art: His all-too-perfect girlfriend Susan ( A l exandra Shipp) has been offered a job outside the city, his hydro is about to be cut off, Michael needs to talk, and a HIV positive co-worker has been hospitalized. If there is anything about the story that strikes an uncomfortable chord, it's Larson's manic need to succeed before 30-a heavy weight to carry for those of us with unfinished projects who recognize 30 as a distant rumour.īut Larson has found one champion in the industry, Ira Weitzman ( Jon ath an Marc Sherman) willing to mount a reading for Larson’s science-fiction musical. Larson, on the cusp of his 30th birthday (egads!) laments his lack of success and Bohemian lifestyle, unlike his idol, Stephen Sondheim ( B r adley Whitford) who was producing Broadway hits in his early 20s. Time is ticking and the voices from concerned friends to consider other options sound more like betrayal than support. This is New York City in the ‘80s at the height of the AIDS epidemic, further tarnished by the disheartening anti-gay narrative from the likes of Senator Jesse Helms and the Moral Majority. ![]() But Miranda stacks the film with evidence of Larson’s inspiration for his greatest success, Rent. ![]() Tick,Tick…Boom! chronicles Larson’s struggles with his (unproduced) science-fiction musical Superbia. Musical numbers like No More, a song celebrating the financial freedom of Larson’s best friend, Michael ( R o bin de Jesus) resonate with an exaggerated flamboyance, as if Miranda anticipates the fears of those who find musicals cringeworthy and so, purposefully, cranks-up the kitsch.
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