Click here to subscribe.There’s a difference between a central character and a black hole. 19 issue of The Hollywood Reporter magazine. And that’s exactly what we did with Tick, Tick … Boom!“ “ you would have workshops, you would have readings, you’d put it on its feet and try it out. “Lin said, ‘I don’t know how to make a movie, but I do know how to make a musical,’ ” says Levenson. That freedom was also born out of Miranda’s approach as a first-time director, who brought his theatrical expertise to the project. “That allowed us the freedom to make some of these numbers really big and to keep some of them very small.” “We were always going to use Jonathan’s imagination to get into the story,” says Levenson of the concert framing device. “Each of these numbers had to stand on its own … and guide us, storytelling-wise.” The selections include rock-driven songs from Larson’s concert staging, to a showstopping homage to Stephen Sondheim’s Sunday in the Park With George featuring cameos from Broadway veterans like Joel Grey, Bernadette Peters and Chita Rivera, with intimate, self-reflective songs in between. “The songs already existed, and we got to choose from this incredible buffet of pieces,” he says. ”īecause of Tick, Tick … Boom!‘s evolution from one-man show to off-Broadway musical - and now feature film - Levenson and Miranda took creative license with the show’s structure when adapting it for the screen. Tick, Tick … Boom! is actually about the making of Tick, Tick … Boom!, and that gives us a different perspective and allows the viewer to understand it as a specific part of Larson’s journey. “He didn’t know the future - we do, and we know that this was all leading toward Rent. “It is this portrait of an artist at such a specific moment in time,” says Levenson. “His major idea, which survived all these years of development, was that this one-man show out of which Tick, Tick … Boom! emerged be at the center of the film,” says Levenson, who adds that Bob Fosse’s All That Jazz and John Cameron Mitchell’s Hedwig and the Angry Inch were two movie-musical reference points that incorporated performances as similar framing devices. He adds that Miranda’s vision for the film was present in their first meeting. Levenson admits that he “put my hand up as high as I could in the air” when he first learned that Miranda was considering Tick, Tick … Boom! as his feature film directorial debut in 2017, the same year Levenson won a Tony for writing the book for Dear Evan Hansen. It feels even deeper and more profound than when I was basically a kid.” ![]() “I read it very differently as someone who’s no longer looking ahead to 30. Of course, the play - which sees a fictionalized “Jon” anxiously finishing his first musical for a workshop reading on the eve of his 30th birthday - held a different relevance for Levenson, now 37, as he began to adapt the text for film. ![]() Tales of Triumph and Iconic Personas: THR's Guide to the Oscars' Top Documentaries In 2001, Tick, Tick … Boom! - expanded by playwright David Auburn into a three-character musical - premiered off-Broadway, the first of many productions that led to Netflix’s film adaptation, directed by Lin-Manuel Miranda. First performed by Larson in 1990 as a one-man “rock monologue,” the show gained a larger audience after Larson’s death in 1996 and Rent‘s critical and commercial success. While his Tony- and Pulitzer Prize-winning rock opera Rent has been performed on stages around the world, composer Jonathan Larson’s earlier work, Tick, Tick … Boom!, has developed a smaller cult following of musical theater obsessives.
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