Jonathan Larson’s Musical Blossoms with Youthful, 90s Passions

by Barry David Horwitz

“tick…. tick…. Boom!” is more than the origin story of “Rent.” It’s a witty and brilliant commentary on how artists are treated in the U.S. What happens to the young composer when he refuses to submit to the corporate machine? Larson’s premature and misdiagnosed death calls out to us to make changes to help creative ventures in our cities and towns.

It’s 1990, Bush I is Prez, and Jonathan Larson works at the Moondance Diner in Soho to get by. Chris Morrell puts his heart and soul into a smart, witty recreation of Larson’s life and his lovely, funny lyrics. Morrell’s talent transmits the warm appeal of Larson, himself.

Morrell takes us on the ups and downs of a young artist, and we love each dip and thrill along the way. Director Cindy Goldfield does amazing work in making apartment scenes, diner scenes, and office scenes flow beautifully together as the three singers make spot-on contact every moment.

As the lead, Morrell leaps, soars, warbles, and dives into roiling emotions the young composer faces on his 30^th birthday in 1990. When Morell sings “30/90,” we are charmed by his self-doubt and  his wit. He’s still a few years from his barrier-breaking musical RENT in 1996, but Morrell makes him shine with genius.

The writer wonders whether he should keep fighting to make his musical or just give up and get a job—a primer for artists who live in 90s lower Manhattan. Larson is tempted by his former actor friend Michael (endearing Marcus J. Paige) to join him at a high-paying marketing company, but Larson just does not fit into the hilarious office scene. They sing “Real Life,” a siren invitation to cross to a “real” paying job.

His girlfriend Susan (engaging Catalina Kumisiki), a dancer and teacher, also wants a better life and has a job offer in New England. She suggests a real job, too, as they sing the clever “Come to Your Senses.” Their tentative love is touching and convincing.

Susan has to go to Cape Cod to get a decent gig as a dance teacher, and Michael faces homophobia and AIDS, while always encouraging his friend Jon. These are obstacles that ask for far-reaching solutions–beyond Larson’s reach.

Chris Morrell gets every bit of juice out of this American conundrum—he makes us feel for Larson, who presented this material first as a one man show. At the workshop, Stephen Sondheim—his idol—shows up, spreading laughter, hope, and encouragement.

Each of the three talented actor/singers takes a turn at imitating Larson’s elusive agent Rosa Stevens, for endearing comedy. The conflict between crass NY agent and naïve young composer rings so TRUE. Rosa and Sondheim appeal to both aspiring artists and savvy business people.

If you know this story, you know it’s a bittersweet ending for a musical, and yet the charm and the hopefulness that emerge from these three actors stay with us. I love Goldfield’s bubbling, brilliant, up-beat tribute to young talent.

“tick, tick…BOOM!” –book, music, & lyrics by Jonathan Larson, script consulting by David Auburn, orchestrations by Stephen Oremus, directed & choreographed by Cindy Goldfield.

–musical direction by Ben Prince, set design by Micaela Kieko Sinclair, lighting by Sophia Craven, at New Conservatory Theatre Center, San Francisco. Info: nctcsf.org – to June 16, 2024.

Cast: Catalina Kumiski, Chris Morrell, and Marcus J. Paige.

Banner photo: Marcus J. Paige, Chris Morrell, and Catalina Kumiski. Photos: Lois Tema