A Close Encounter with Tick, Tick…Boom!: Ambition Meets Intimacy in Piezoelectric Productions’ Latest Offering

A Deep Dive into Piezoelectric Productions’ Tick, Tick…Boom!

Piezoelectric Productions’ rendition of Tick, Tick…Boom! shines as an ambitious take on Jonathan Larson’s semi-autobiographical exploration of creativity, ambition, and the turbulent nature of relationships. However, performing in the intimate confines of the Pilch space presented unique challenges that impacted the overall experience.

The Struggle of a Composer

The show revolves around Jon (Laurentien Jungkamp), a nearly 30-year-old composer grappling with the pressure to create the next great American musical. His journey is marked by the conflicting expectations of his girlfriend Susan (Katie Gill) and best friend Michael (Noah Rudder). Directed by Alexandra Russell, this version notably featured a stripped-down set adorned with musical notes, enhancing the show’s musical theme while relying heavily on multi-rolling for comedic effect.

Comparing a Classic to Its Contemporaries

Interestingly, Tick, Tick…Boom! shares thematic parallels with the recent Company, a classic that also features a male lead experiencing a life crisis. This similarity may have contributed to its inability to make a strong initial impact. The opening scene, where Jon laments the approach of his thirtieth birthday, lacked the humor required to engage the audience. The character introductions felt rushed, diluting the energy that could have propelled the plot forward. Instead of an instant connection, the show improved incrementally, finding its rhythm as it progressed.

The Pilch’s Intimate Space

One of the most notable challenges was delivering such a quintessentially American narrative to a British audience, particularly in a venue like the Pilch, where the audience is seated closely around the performers. Early attempts at humor, such as the brunch-themed ‘Sunday’ number, often fell flat and became more pronounced due to the intimate setting. This small stage created an environment where less convincing moments were highly visible, making it harder for the audience to suspend disbelief.

The physical arrangement of the Pilch did offer some creative solutions, like having Jungkamp and Gill stand back-to-back during an argument to include side audience members. However, such efforts often felt limited. The forward-facing nature of the performance meant that many audience members missed out on key moments, affecting overall immersion.

A Commendable Cast in Tough Conditions

Despite these challenges, the cast demonstrated remarkable resilience. Musicals typically thrive in larger venues that allow for sweeping choreography and grand staging, while the Pilch narrowed the scope of performance. This intimacy forced both actors and audience to share a collective anticipation, almost holding their breath together as scenes changed.

Among the cast, Katie Gill stood out in her portrayal of Susan. Her ability to deliver comedic moments, particularly in the lively ‘Green Green Dress,’ displayed her talents beautifully, complemented by a stirring rendition of ‘Come to Your Senses’ as Karessa.

Moments of Brilliance

As the performance unfolded, actors began to find their footing, leading to moments that brought genuine laughter, such as Jon’s absurdly large Twinkie purchase. Ironically, the cast often shone brightest in non-singing moments—capturing the depth of friendship between Jon and Michael and injecting tension into the character’s health disclosure. Their emotional chemistry, particularly in the more serious exchanges, resonated effectively, especially during poignant moments of conflict, like Susan discovering Jon’s kiss with Karessa.

Costume Choices and Transitions

A prominent feature of the show was the multi-rolling aspect, where actors portrayed several characters. Costume designer Ben Adams opted for simple changes to signify character shifts, which, while clever, occasionally felt clunky. Keeping costumes onstage in a box created awkward transitions that could have risked disrupting the flow.

The Musical Heartbeat

The show’s musical score, crafted with care by Caitlin Hawthorn, Meg Gu, and live musicians Ally Sheridan, Tom Murphy, and Tommy Watt, ultimately brought a soulfulness to the production. While Jungkamp’s piano was underutilized, live musicians onstage offered an inviting and rich atmosphere, underscoring Jon’s obsessive dedication to his craft. Ella Wilson’s set design, adorned with sheets of music, poignantly illustrated Jon’s struggles and aspirations.

Conclusion

In the end, Piezoelectric Productions’ Tick, Tick…Boom! successfully retained the warmth and heart intrinsic to Larson’s work, yet faced hurdles that hampered its full execution. While the show evolved into a more cohesive experience, the early missteps in humor and pacing revealed the challenges of staging a complex musical in such an intimate setting. Nonetheless, the cast’s commitment and the underlying themes resonate, reminding us of the timeless struggles of ambition and love in the face of uncertainty.