tick, tick...BOOM!

I couldn’t make it to Opening Night and I was a little worried that the magic of an opening may have dissipated in two nights, with the energy and passion in recovery mode. I really do worry too much about things that never happen.

tick, tick...BOOM!is a triumph, and further proof that great theatre doesn’t come from throwing money at it. Throw passion, and vision and integrity at it instead, and you get theatre that takes your breath away. Pursued by Bear have all three as a company and so they look for others who share their integrity. Paul Watson is a fine performer himself, but it as a director that he creates theatrical magic at every outing. With Sarah Tulloch’s design he has created another world. When you step into The Loft theatre, it’s as if you’re stepping into Larson’s apartment – chaotic, non-cohesive, looking for a theme - an extension of Larson himself  and his creative compulsion.

The floor is strewn with sheet music, old instruments, paint tins, ladders, drop cloths - it looks like a junk shop. Centre stage is a piano…no furniture. What good would furniture be to the driven and obsessive Larson? The piano becomes a counter, a fast food outlet - for everything in Larson’s life is connected somehow to music. Naked light bulbs hang from the ceiling, nothing is frivolous. Everything has purpose, even if its use-by date has expired. Minimalism negates distraction, nothing gets in the way of connection… Larson’s with life, ours with him.

Instantly we are part of Larson’s being, we “get” the life of the creative; the triumphs and trials, the combination of arrogance and uncertainty – if YOU don’t believe in your talent, why the hell should anyone else?  Watson lives and breathes that life, is on that constant quest for excellence, and he doesn’t compromise. If you don’t want to do the work as the audience to “get it” Maybe you’re in the wrong theatre. With the grungy look and limited budget, the entire team manages to make a production that is not only stylish and beautifully performed, but is all class from beginning to end.

The majority of style and class comes from Luigi Lucente, surely one of the most amazing, largely unheralded, leading men in the country. Lucente’s performance is the jewel in the crown and worth seeing for its own sake. Oozing with talent, he also gives us an overdose of charisma and dynamic energy. It is as if he has somehow crawled into Larson’s skin and understands every tick tick of the composer’s psyche. He is gob-smackingly good and deserves the super-stardom that has so far eluded him. My only fear is that…just once or twice…Luigi took a breather to centre himself, and the dialogue went on to automatic loop. It was only for a few seconds, but when someone like Lucente dazzles with the truth of his performance, you notice when it seems he goes missing, if only for a brief moment.  As Jon, he is on stage for the entire show….and playing piano live without music for more than half of it. It’s a hugely taxing performance - both physically and emotionally.

Larson’s music is more varied and versatile here than in Rent, (though not as dramatic) and there are some delicious numbers, including “Sunday”, a pisstaking homage to Sondheim’s Sunday in the Park with George. There are more references to Sondheim in “Why?” a great number which Lucente nails. It contrasts with the overt pop of “Sugar” and the powerful impact of “Come to Your Senses” and “Louder than Words”.

Angela Scundi is superb - a real woman with curves - who knows what she wants from life. She’s particularly adept at making her various characters three-dimensional. Her powerful interpretation of “Come to your senses” - an Eleven O’clock number that isn’t performed by the lead, is more than impressive and she’s a great match for Lucente’s restless energy.

Quin Kelly is fine as Larson’s best mate who throws away the creative life for corporate riches, but there are moments when he seems to be trying too hard, without the natural flow which is embedded in Lucente’s performance. With two extra voices in swings Rebecca Hetherington and Mitch Roberts (who create interesting nameless characters in their own right), Jess Barlow is MD to a kick-ass band who constantly keep the energy up and drive the show forward, and Jason Crick’s lighting echoes the class of the entire production.

You don’t have to love Larson (I am not an avid fan) to see this show. But it is a must-see for all who love talent, excellence and wonderful theatre. It’s hard to imagine there will ever be a better production of this show than this one. It’s a Must- See.

Coral Drouyn