As Opera Australia’s RENT is about to hit the Opera House mainstage, CODA (Company of Dramatic Arts) offers something rawer, more intimate, and arguably more revealing: TICK, TICK…BOOM! is the lesser known musical by the late Jonathan Larson which premiered this week at The Flight Path Theatre as part of the 2025 Sydney Fringe Festival.
Originally written as a “rock monologue” and performed by Larson himself in 1990 under the title Boho Days, the show was restructured after Larson’s sudden death in 1996 by Pulitzer Prize winning playwright David Auburn. What we now know as TICK, TICK…BOOM! is a journey into the mind of an artist on the brink of greatness.
Set in early ’90s SoHo, the story follows Jon (Lachlan Ceravolo), an aspiring composer days away from his 30th birthday, tormented by the fear that his career will never take flight. His best friend Michael (Myles Burgin) has traded acting for a corporate job; his girlfriend Susan (Jordan Berry) dreams of a quieter life far from the chaos of the city. Jon is caught between selling out and staying true to his voice.
CODA’s production, directed by Jacob Macri, delivers moments of emotional authenticity, although not without its challenges. After Chippen Street Theatre’s last minute withdrawal of their venue (affecting multiple shows across the Fringe Festival and beyond) reblocking has evidently occurred. The simplicity of the set, a stylised stoop was used to strong effect, offering both a versatile playing space, and a visual metaphor for the setting of NYC.
Opening with a bang the song, “30/90”, is a driving rock number that introduces Jon’s central conflict, his fear of turning 30 without having achieved creative success. The song acts as a quasi-prologue, establishing the show’s autobiographical tone, framing the story within the broader anxiety of aging, with the repeated lyric, “Can’t I stay 29 until I figure out who I am?” capturing Jon’s inner turmoil and tension at the heart of the piece. Whilst Ceravolo’s performance was emotionally sincere, at times his vocal clarity was an issue.
As Michael, Myles Burgin brought a genuine warmth to the friendship especially in “Real Life”, although his costuming slightly missed the mark. His outfit felt too modern and revealing for the character’s professional arc.
The live band, led by Ceravolo as musical director, featured David Lang on keys, Bien Javier on bass, Oliver Naglost on drums, and William Hunt on guitar. Their musicianship was exceptional, with Larson’s genre defying score played with passion and polish, however; the sound balance, particularly the keyboard levels, often overwhelmed the vocals. I am reminded here, that this was a preview and one expects these issues will be addressed by opening night.
Despite these minor hiccups, three musical moments stood out with particular force.
Berry, who also played Karessa, delivered a sincere performance in, “Come to Your Senses”. The number, originally from Larson’s earlier musical Superbia, was rendered with emotional clarity. Berry subtly conveys both the seductive allure of commercial success and the deep ache of artistic compromise.
Ceravolo’s acoustic piano performance of “Why” became one of the night’s most affecting moments. Stripped of the full band, the number finally allowed space for intimacy and connection. Musically, it samples in fragments from West Side Story, Mary Poppins, and Superbia all references to the songs that shaped Larson’s youth and creative voice. The recurring tritone from “Maria” underscores Jon’s inner conflict, while lyrical echoes from “Cool”, “Tonight (Quintet)”, and “Let’s Go Fly a Kite” pay homage to a life built on music and dreams.
Ultimately, the duet “Therapy”, performed by Ceravolo and Berry was a comedic and a choreographic highlight. Their sharp timing and clean physicality brought Larson’s rhythmic, dialogue-as-song structure to vivid life, brilliantly capturing the absurdity of a relationship unraveling. Vocally a very successful number which the audience greatly enjoyed.
Choreography, by Berry, was effective, it seemed to be motivated by character rather than spectacle, supporting a focus on the raw storytelling and moving away from traditional dance, just as this is not a traditional musical, she made some fitting choices that were appropriate and entertaining.
As a musical theatre nerd, I felt that Larson’s intertextuality is one of the show’s richest textures. “Sunday”, a parody of the Act I finale of Sunday in the Park with George, relocates Seurat’s serenity to the frenzy of a SoHo brunch shift. “Johnny Can’t Decide” borrows its introspective tone from “Lesson #8”, while “No More” cheekily samples The Jeffersons’ “Movin’ On Up”, satirising the hollowness of upward mobility.
CODA’s TICK, TICK…BOOM! successfully channels the restless, searching spirit of Jonathan Larson’s early work. It’s a moving reminder that art is born not from certainty but from urgency, from the fear that time is running out, and the hope that someone, somewhere, might hear what you have to say.
Well, this audience was certainly listening. There was an unmistakable buzz in the foyer before and after the show, and several musical numbers were met with spontaneous, enthusiastic applause. If this preview is any indication, this production is a must see for those familiar with the show, or new to Larson’s genius at work and you just never know you might be watching the early work of the next Australian superstar, right there in Marrickville.
Details
Presented by CODA (Company of Dramatic Arts)
Directed by Jacob Macri
Venue : Flight Path Theatre
Photo credit: Finn Stannard
Run time 90 minutes, no interval
Review by Kathryn Smith. Kathryn attended a preview on 10 Sept, 2025.
Limited tickets available: https://sydneyfringe.com/events/coda-presents-tick-tick-boom/
Fri 12 Sep 7:30 PM
Sat 13 Sep 3:00 PM
Sat 13 Sep 7:30 PM
