Turning 30 and not achieving one’s dreams / Photo: Bernie Ng / Courtesy of Sight Lines

tick, tick… BOOM!
Sight Lines
6 July 2024, 3 p.m.
KC Arts Centre
5–14 July 2024

The onomatopoeic title of Jonathan Larson’s semi-autobiographical musical refers to the existential angst of not achieving one’s dreams. Throw in pesky everyday realities—the AIDS epidemic; keeping the lights on; and age creeping up on you—and it feels like life is going to blow up. 

Written before Rent (1996)—which gave Jonathan Larson the recognition that he wanted, albeit posthumously—Larson expresses his frustration of his musicals not being accepted by Broadway through a rock monologue, originally performed as a solo act with backing musicians.

Preston Lim as Jon, a struggling musical composer / Photo: Crispian Chan / Courtesy of Sight Lines

On first hearing the songs from tick, tick… BOOM!, it is easy to see why Broadway in the 1980s–early 1990s were not receptive to his music: overly repetitive melody lines, shoe-horning more words into a bar than necessary, and rock music being a relatively new genre in the world of musicals. 

Yet, on further listening, it becomes clear that Larson does this on purpose with a glint in his eye, rather than a lack of skill. “Sunday” proves he is adept at gorgeous harmonies; “Therapy” shows his comic chops with a country twang; and “Come to your Senses” testifies that he can write a heartfelt, soulful song. 

After his death, playwright David Auburn was brought in to revise the script to include Michael (Jon’s best friend) and Susan (Jon’s dancer girlfriend) with some dramatised scenes in between the songs. This allows the show to be performed by other actors, expanding the dramatic possibilities of a rock confessional to a full-fledged musical.

L-R: Eric Larrea, Vanessa Kee, Preston Lim, Ryan Ang, Beatrice Jaymes Pung / Photo: Bernie Ng / Courtesy of Sight Lines

Unfortunately, in Sight Line’s production of tick, tick… BOOM!, director Derrick Chew did not explore the dramatic possibilities of those scenes to the fullest extent. They feel rushed and are not allowed to settle before the song comes on. This impedes us from sympathising with the characters, especially in pivotal moments such as Michael revealing a very personal predicament to Jon.

 While Preston Lim (Jon) hits the right notes in his singing, his portrayal of the struggling composer is quite studied. One does not feel the stakes of Jon needing to complete the musical before the showcase; or not wanting Susan to leave him in “See Her Smile”; or his disdain for the self-important customers in the diner where he worked, before slipping into “Sunday”, a comic satire. 

Perhaps it might be the nerves of the opening weekend, but one hopes that Lim can enjoy the process more and, like the person he’s portraying, throw himself into the role in the subsequent shows.

Jon (Preston Lim) in “Sunday” / Photo: Bernie Ng / Courtesy of Sight Lines

That said, there is much to commend the production for. 

Ryan Ang’s (Michael) camp antics serve as a nice counterpoint to the neuroses of his best friend, Jon. The sheer abandon in his tomfoolery in “No More”—as Jon and Michael explore the latter’s apartment after Michael gave up acting for marketing research—makes you long for your teenage years and those hours spent mucking about with your best friend.

Despite the best friends getting the most stage time, Vanessa Kee (Susan) and Beatrice Jaymes Pung (Karessa, an actress in Jon’s musical showcase) steal the show with a stirring rendition of “Come to your Senses”—a brilliant mix of technique and emotion that expresses longing.

Both women also display a great deal of versatility. Witness Kee’s marionette-like movements while singing quickly in “Therapy”, a song that encapsulates the misunderstandings and absurdities of a couple’s quarrel. Pung pulls off both the experienced Rosa Stevens (Jon’s agent who has a strong Brooklyn accent), and flirtatious young actress, Karessa, like it is a walk in Central Park.

Apart from proving that he can portray middle-aged men of all kinds (from the jaded bodega owner to the camp dance instructor), Eric Larrea has a strong singing voice with a bright tone. It is a shame that one could only hear a few solo notes from him in “Johnny Can’t Decide”, and I would love to see more of him in future productions. 

Susan (Vanessa Kee) and Jon (Preston Lim) quarrel in “Therapy” / Photo: Bernie Ng / Courtesy of Sight Lines

Despite the small performance area, it is wonderful that choreographers Tan Rui Shan and Hafiz Hosni are not constrained by it. The clever use of space, playful partner work, and dynamic transitions kept the energy high, and the audience engaged.

Set designer Eucien Chia achieves the remarkable feat of recreating Larson’s grungy Greenwich apartment while ensuring that several other locales in New York can be easily configured by shifting a certain set piece or prop.

No detail is neglected as the posters in the alley reflect the socio-political zeitgeist of the time, and the papers that Jon handles are facsimiles of Jonathan Larson’s actual notes.

Add the light trusses and prominent lighting rigs by lighting designer Michael Chan, and we get a larger-than-life quality to the show—the struggles of an artist writ large.

Jon is besotted with Karessa (Beatrice Jaymes Pung) / Photo: Crispian Chan / Courtesy of Sight Lines

While Sight Lines’ foray into musical theatre was not a homerun (who gets it on the first try?), it definitely has potential. With its ambitious 2025 season on the horizon, one cannot wait to see what the earnestness and boldness of the company yields.

Other Reviews

“Theatre review: Tick, Tick… Boom! is fun and relatable to Singaporean audiences” by Charmaine Lim, The Straits Times Life!

“[Theatre Review] Tick, Tick… Boom! Resonates with Singaporean Audiences” by Alvin, Alvinology Media