They somehow assembled the team that has made it so memorable and – in the process-demonstrated to me a point Jonathan often talked about: everything in theatre results from collaborative effort. So those ladies (together with co-producers Lorie Cowen Levy, Dede Harris, and Beth Smith) deserve full credit for bringing tick, tick. Realizing they were right, we nervously agreed. Then, in 2000, Victoria Leacock – one of his closest friends and most consistent supporters since their college days – and Robyn Goodman, who had first produced the monologue at The Second Stage, joined forces to convince us that the show was too good to remain hidden. Although he had taken some dramatic licenses, the show had, and has, a very personal tone for everyone who knew him we felt that putting it on stage would be almost like publishing excerpts from his diary. But by 1993, he had become more and more involved writing another show called Rent, so tick, tick. For the record (no pun intended), that’s what Jon wanted audiences to share not “his story,” but “our story.” We all felt he had achieved that goal remarkably well, with terrific music. While based on events and emotions from his own life, it was to be a universal story, about individuals feeling the kinds of pressures we all face. Because he was first of all a playwright, using both words and music to tell a story, he wanted to create a perfect piece of stagecraft. Along the way, there were major revisions, with various songs added and deleted, and five different scripts. BOOM! Between 19, he performed the show briefly at New York’s Second Stage Theatre, the New York Theatre Workshop, and The Village Gate. Then, feeling increasing pressure to succeed as a composer or switch to something else because he’d soon be thirty years old (in 1990), he called it 30/90 and when that milestone had passed, tick, tick. Initially, he called it Boho Days, a “rock monologue” about bohemian life. In frustration, he decided to create a small budget, one-man show that he would perform himself. Everyone told him it was good, or better than good, but with rock music it was too “different” for Broadway, and required too large a cast for Off-Broadway. By the late 1980s, Jonathan had completed work on a futuristic musical show titled Superbia. BOOM! will help you enjoy this show just as Jon enjoyed so many in our house. We always enjoyed the music, but if we had already seen the show, the songs brought the thrill, the color, and the story vividly back to life. Sometimes the stories told on the jackets of those giant vinyl discs provided a clear mental picture of what was happening on stage sometimes they didn’t. From the time he was a little boy, Jonathan was exposed to musical theatre in albums at home and, on special occasions, actual productions. SynopsisĪ Few (too many) words from Jonathan Larson’s Dad. Oops, looks like your browser doesn't support HTML 5 audio.
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