Chance Theater does Jonathan Larson proud with the absolute best of the nine productions I’ve seen of tick, tick… BOOM!, the Rent legend’s early-1990s autobiographical one-man show turned musical three-hander.

 The year was 1990, and a then 29-going-on-30 Jon was the quintessential starving artist, having devoted seven long years to writing Superbia, an ambitious musical that ended up going nowhere to the composer-playwright’s soul-crushing chagrin.

Rather than throw in the towel, however, Jon put his feelings about turning 30 without any notable career success into the one-man show that serves as the basis for tick, tick … BOOM!, adapted as a three-performer musical by Pulitzer Prize-winning playwright David Auburn five years after Larson’s untimely death at the age of 35.

 “The sound you are hearing is not a technical problem,” Jon (Luc Clopton) tells us as he sits in his Lower Manhattan apartment, the ticking of a clock echoing in the background. “It is not a musical cue. It is not a joke. It is the sound of one man’s mounting anxiety. I … am that man.”

With his 20s-ending birthday fast approaching, Jon can’t help comparing his still unsuccessful life with that of his childhood bff Michael (Mario Houle), a successful business executive with a fancy sports car and more brand name outfits than he could possibly count.

 Meanwhile, girlfriend Susan (Lena Ceja) is thinking about giving up her Manhattan job teaching ballet to “wealthy and untalented children” and moving out of the city.

tick, tick…BOOM! follows Jon as he prepares for the Superbia workshop, flirts and quarrels with Susan, learns that Michael has worries far exceeding his own … and eventually finds the strength to persevere.

Unfolding as a series of vignettes, tick, tick…BOOM! features over a dozen songs in which the composer-lyricist’s signature sound rings forth loud and clear.

“Johnny Can’t Decide” has Jon, Michael, and Susan harmonizing about their inability to take concrete steps forward in their lives, “Therapy” gives an at-odds Jon and Susan the chance to air their long-simmering differences, and “Sugar” is Jon’s ode to his favorite Hostess treat. (“They’re not unlike rice cakes, only cylindrical and injected with cream.”)

 And I’d be remiss not to mention Larson’s inspired “in the diner with Jon” take-off on Stephen Sondheim’s “Sunday.”

And these are only four of the autobiographical gems that get performed by two charismatic Chance Theater returnees and one captivating newbie under the absolutely brilliant direction of H. Adam Harris.

I’ve enjoyed every one of the now nine productions I’ve seen of this Rent prequel beginning with its West Coast Premiere at the Rubicon back in 2005, but none of them has hit the heights of its Chance Theater debut, one that does every single thing right, and then some.

Let’s start with the production’s spectacular design, Mio Okada and Fred Kinney’s set transporting us to Jon’s bohemian apartment, its shelves packed with books and music and assorted paraphernalia, plus a kitchen island that transforms into a coffee shop counter, a loveseat that gets split in half to become Michael’s bucket-seated luxury vehicle, and a rooftop balcony off to the side.

 Hunter Moody’s sensational sound design not only provides an expert mix of amped vocals and ace music director Lex Leigh’s live piano and prerecorded instrumental tracks (James Markoski is audio engineer) but surrounds us with the sounds of New York City life from traffic noise to seagulls soaring over Central Park to the requisite tick-tocking of Jon’s internal clock.

Jacqueline Malenke’s lighting is every bit as stunning a design as those previously mentioned and Bruce Goodrich’s character-distinguishing costumes are winners as well.

 Director Harris not only brings out the very best from his three stars where acting and vocals are concerned, but his endlessly inventive work is seamlessly integrated with that of choreographer Niko Montelibano, who finds ingenious ways to integrate dance and movement into a musical that has worked satisfactorily without these elements, but is so much more exciting when they’re present.

I’ve seen more than a few outstanding Jons, but a risk-taking Clopton simply dazzles in the role, and his sizzling pop-rock pipes are matched by electrifying acting chops.

Ceja (Mimi Marquez to his Mark Cohen in 2023’s Rent) is a silver-voiced sizzler too, whether as Jon’s beguiling girlfriend Susan or his sensuous Superbia leading lady Karessa or his quintessentially Noo Yawk agent Rosa Stevens.

 Last but not least, Chance newbie Houle may be about a half-dozen years younger than Michael’s 30, but who’s counting when a performer combines boyish charm, rich vocals, dramatic chops, and a gift for creating comedic featured gems like Jon’s irrepressible Dad and the slickest of market research guys.

Aaron Lipp  and dramaturg Jane Broderson are assistant directors. Shinshin Yuder Tsai is intimacy coordinator and casting director. Kylie Baumbusch is scenic painter. Jordan Jones is stage manager.

If like many in Saturday’s Opening Night audience this is your first time seeing Jonathan Larson’s tick, tick… BOOM! live on stage, you can rest assured that you’ll be getting the absolute best possible introduction to this autobiographical Jonathan Larson gem at the Chance.

I’ve seen nine of them and they don’t get any better than this latest Chance Theater smash.

Chance Theater, 5522 E. La Palma Ave., Anaheim Hills. Through February 23. Thursdays at 7:30. Fridays at 8:00, Saturdays at 3:00 and 8:00, Sundays at 3:00.
www.chancetheater.com

–Steven Stanley
February 1, 2025
Photos: Doug Catiller

Tags: Chance Theater, David Auburn, Jonathan Larson, Orange County Theater Review