Tick, Tick…Boom! Review – A Fantastical Slice of Musical Theatre
“A masterclass in how musical films could be moving forward…”
A movie adaptation of a musical works better if it doesn’t lose the thrill and rush from the stage. Thankfully, Tick, Tick…Boom! relishes in it and uses it as its driving force from start to finish.
A biographical musical drama based on musical playwright and composer Jonathan Larson, a man struggling to finish a show eight years. Whilst putting his life and soul into his work, he tries to ensure he doesn’t lose his friends and girlfriend along the way.
First off, this film is proof that Andrew Garfield’s versatility knows no bounds. The Hacksaw Ridge lead is amazing as Larson. His energy is through the roof and he embraces the theatricality of it all.
Other standout performances, without a doubt are Alexandra Shipp and Robin de Jeśus as Larson’s girlfriend Susan and his best friend Michael, respectively. The X-Men: Apocalypse actress plays Larson’s grounding force extremely well without being overbearing, whilst the In the Heights actor is a constant reminder of what Larson could become if he gave up on his passion. De Jeśus is given some powerful moments throughout, and you’re hanging on the actor’s every word.
An interesting casting choice is Vanessa Hudgens. After live TV performances of Grease and Rent (nice little nod), this takes Hudgens even further into her musical roots as Larson’s friend and performer Karessa. Needless to say though, for a relatively small part, it feels like someone more upcoming could have given the same kind of performance. As good as her casting is, it feels somewhat forced and maybe an actress of her profile should have had a bigger role.
That brings us onto the cameo appearances. It’s no secret that Lin-Manuel Miranda serves as director for the film, and we’ll get more into his role later. But from some of the familiar faces, you can tell this musical theatre lover and Hamilton frontman is having fun with his production. However, does it not take away focus from the story? I am of course referring to the rendition of “Sunday” which brings in faces from the likes of Hamilton and the movie adaptation of Rent. It’s fun and good for some blink-and-you’ll-miss-it challenges, but it puts Garfield out of the spotlight unnecessarily. Hell, even Miranda himself gets in on the action for a quick cameo during this scene.
The plot itself is an excellent adaptation of the stage show. It gives you everything you need to following a film for two hours without losing that energy from the stage, but it also isn’t afraid to drop you into serious subject matter before it takes up back up. Outside of the usual, over the top atmosphere of a musical, the authenticity of certain scenes is so well done. The madness in the Moondance diner on that Sunday morning. Jonathan and Larson’s various deep conversations. The break-up scene which juxtaposes with the rendition of “Therapy” from Garfield and Hudgens. You should be uneasy in moments like this as you feel like reaching through your screen and intervening. Just really exquisite slices of life being portrayed.
It’s fair to say that any struggling artist would also call corners of this story a mirror to what it is like trying to break it in the performing arts game. The sacrifices. Working undesirable jobs. Weighing up whether or not to quit. Most importantly, trying your best to carry on against the odds. You also get perfect exposition to Larson’s themes around aids, love and poverty in his most famous production, Rent.
We alluded to it before, but this has Miranda in the director’s chair, for his directorial debut no less. For a first time film director, it’s a massive triumph. A triumphant explosion lets call it. The really fun blend of the workshop performance and the standard film-format storytelling. The quick pacing of a real stage musical. Seamless visuals. Miranda makes sure that every frame is outstanding and speaks a thousand words. The cons, probably only the level of well known musical faces he pulled in at one point. But besides that, we can only hope that this guy is going to be behind the camera a lot more often moving forward.
The biggest takeaways from this film is it’s devotion to the industry and to Larson’s legacy. The story is a massive, metaphorical bow to the late great musical composer and the creativity he brimmed with. You get into his psyche and see from his perspective why and how he looked at musicals the way he did and what inspired him to step into certain themes through hi works.
I’ve said it already, but you also can’t help but take notice of its message to struggling artists, basically screaming at them to keep going and take no notice of the doubters. Yes, we’ve had films like La-La Land that sympathise with upcoming performers, but not quite like this. Something about this film’s angling of that subject just hits different, and also has you tapping your foot along the way.
All in all, Tick, Tick…Boom! is a masterclass in how musical films could be moving forward. Miranda was born to helm this project, but it wouldn’t stack up as well without it’s stellar cast. Garfield’s eccentric portrayal is up there (I smell awards buzz) and his supporting cast are reacting to the script with every bit as much talent. Not forgetting the stunning visuals, if you’re a musical theatre nerd, I think you’d agree that if you had the chance you’d have jumped to audition for this without a second thought.
From us, this film has got to be handed an 8.9/10.
Tick, Tick…Boom! is available to stream on Netflix now.
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