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In any event, you needn’t have any fondness for “Rent” - though a little doesn’t hurt - to be taken with the affectionately cracked mirror that “Tick, Tick … Boom!” holds up to it.
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As a show, “Rent” proved nearly as divisive as it was popular: Maybe it enraptured you with its earnest, impassioned paean to art, love and East Village living, and maybe it struck you as a loathsome example of mass culture devouring the counterculture ( “commodified faux bohemia on a platter,” as Carina Chocano put it in her Times review of the lousy 2005 movie adaptation). We are also caught up in something of a “Rent” origin story, which I hope doesn’t scare you off. (Miranda’s expert collaborators include the director of photography Alice Brooks the editors Myron Kerstein and Andrew Weisblum and the executive music producers Alex Lacamoire, Bill Sherman and Kurt Crowley.) But for most of the movie, we are bobbing alongside Jon in a New York playfully alive with the sound of his music and the rough-and-tumble spontaneity of Ryan Heffington’s choreography. It’s framed by scenes of Larson’s alter ego, Jon (Garfield), at the piano, performing on a stage with a band and two singers (Vanessa Hudgens and Joshua Henry), a device that typifies the movie’s fluid, unfussy blend of theatrical and cinematic forms. In pulling together elements from both stage versions of “Tick, Tick … Boom!” and from Larson’s entire body of work, Miranda and screenwriter Steven Levenson (“Dear Evan Hansen”) have made an inspired jumble, a surprisingly graceful Franken-Steinway of a movie. Twenty years later, it’s inspired the feature directing debut of Lin-Manuel Miranda, who played Larson in a 2014 revival and whose hardscrabble journey to musical-theater stardom bears some resemblance to Larson’s own. Years after Larson’s death, his 1990 semi-autobiographical one-man show, “Tick, Tick … Boom!” (originally titled “Boho Days”), spawned another tribute: The playwright David Auburn reworked it into a three-character piece that premiered off-Broadway in 2001. A “La Bohème”-inspired rock opera about starving artists, Manhattan real estate and the AIDS crisis became an improbable success story, a medium-redefining hit and a lasting tribute to its late creator.
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He’s still a few years away from writing his 1996 magnum opus, “Rent,” which means he’s also a few years away from his untimely death from an aortic aneurysm, just a day before “Rent’s” first preview performances.
That’s Andrew Garfield as the musical-theater wunderkind Jonathan Larson - gifted, irrepressible, cash-strapped and a week shy of his 30th birthday. We’re in New York City in 1990, awash in cassette mixtapes and chunky Macintosh computers. Those jittery tick-tick noises punctuating the soundtrack are the sounds of a playwright racing the clock they’re also a reminder that every life has its own undisclosed deadline. The movie, blessedly and sometimes blissfully, is easier to watch than it is to put into words.Īnd that’s only fitting, since “Tick, Tick … Boom!” itself concerns an epic case of writer’s block. And now it’s a Netflix movie, directed by the creative force behind a completely different Broadway phenomenon. The one-man show told the story of a musical that was ultimately never produced, written by a guy whose next musical became a Broadway phenomenon. “Tick, Tick … Boom!,” a 2021 movie based on a 2001 stage musical retooled from a 1990 one-man show, tells a simple story with a complicated genealogy. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the Centers for Disease Control and Prevention and local health officials. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic.