Tailor made for fans of musical theatre, “tick, tick…BOOM!,” Lin-Manuel Miranda’s Netflix autobiographical musical about “Rent” composer Jonathan Larson, is a celebration of the creative process and the following of dreams.
“Everything you are about to see is true… except for the parts Jonathan made up.”
It’s January of 1990 and Larson (Andrew Garfield) is a wannabe composer, working at a restaurant to pay the bills. He’s also about to turn thirty. Older than Stephen Sondheim when he wrote his first musical. Older than Paul McCartney when he wrote his last song with John Lennon.
Eight years writing a futuristic rock musical “Suburbia,” a satire set in the future on a poisoned earth, he’s feeling the pressure to succeed. “I’m the future of musical theatre,” he says, but his girlfriend Susan (Alexandra Shipp) wants to leave New York and his best friend Michael (Robin de Jesús) gave up, leaving the stage for a job at an advertising company, making “high five figures.”
Jonathan is struggling to finish his musical in the days leading up to a workshop of the show before a select audience of Broadway luminaries. He’s broke and being pulled from many different sides, but confident. “When ‘Suburbia’ gets produced,” he says optimistically, “I will be getting paid for my music.”
In his personal life his friends and theatre colleagues are dying of AIDS. Professionally he’s distracted, struggling to finish the show, feeling anxiety at the passing of time and his failure to break through on Broadway.
“There’s not enough time,” he says. “Or maybe I’m just wasting my time. And the time keeps ticking, ticking, ticking and I have three days left to until the workshop. Three days left to write this song and if the song doesn’t work, the show doesn’t work. And then it has all been a waste of time.”
Larson’s preoccupation with time, about finding success and not being “a waiter with a hobby,” is made all the more poignant with the knowledge that he passed away at 1996, at the age of 36, on the day of “Rent’s” first Off-Broadway preview performance.
“tick, tick…BOOM!” is kind of meta. It’s a musical about another musical, wrapped up in a movie musical. It follows Larson through the workshop for “Suburbia,” the writing of the songs for the off-Broadway show that gave the movie its title and the experiences that lead to the writing of era-defining show “Rent.”
Music takes center stage, with exuberant performances of the song-and-dance number “No More,” he catchy “Boho Days” and the powerful “Come to Your Senses” and the heartbreaking “Real Life,” but this is a musical whose dramatic scenes aren’t simply links between the tunes. Garfield not only captures Larson’s angst, but his passion as well. This is a story of following a dream, and the mix of aspiration, determination and desperation in Garfield’s performance is palpable. His face as his agent Rosa (Judith Light) tells him, “You keep throwing them against the wall and eventually hope that something sticks,” encapsulates the realization that every creative person must face.
As good as Garfield is, the real stars of “tick, tick…BOOM!” are Larson and Lin-Manuel Miranda. The composer’s more obscure songs are given a deserving showcase and Miranda, brings Larson’s story to life with equal parts reverence and joy.
On a side note, the film, finished and released before the death of Stephen Sondheim, presents a warm tribute to the legendary composer, who offered support and grace to Larson when many others didn’t.
Richard joins guest host Tamara Cherry and Jay Michaels of the NewsTalk 1010 afternoon show The Rush for Booze and Reviews! Today he talks about Rob Roy, the drink, not the movie, and reviews the Disney+ doc “The Beatles: Get Back,” the animated “Encanto” and Lady Gaga in “House of Gucci.”
Rooted in Colombian culture, “Encanto,” now playing in theatres, is the 60th film from Disney Animation and features eight original songs from Broadway superstar Lin-Manuel Miranda.
The tale begins decades ago when the family’s matriarch Abuela Alma Madrigal (María Cecilia Botero) lost her husband as they, and their three children, escaped persecution. In that moment Abuela comes into possession of a magical candle. The candle’s sorcery helps the single mother not only build a new life for her children, but also a magical home and village tucked away in the mountains of Columbia.
Cut to years later. Encanto is thriving, the candle is burning bright, ensuring the enchantment that created the house and village continues.
The candle has also imbued magical powers on Abuela’s children and grandchildren. Daughter Julieta (Angie Cepeda) can heal people with her cooking, while granddaughter Isabela (Diane Guerrero) is the very picture of perfection, able to make flowers bloom anywhere and everywhere. Luisa (Jessica Darrow) has super strength, which comes in handy when the mules get loose or a building needs moving to another location.
All the children have powers except for youngest daughter Mirabel (Stephanie Beatriz), a spunky youngster who is as down to earth as her siblings are otherworldly. The family is exceptional, she is told, she is “un-ceptional.”
When she discovers the magic of the candle may be dimming, she takes action to save her family and the village.
“Encanto’s” story is told in a swirl of primary colours. The animation is eye-popping, paying homage to vintage Disney like “The Sorcerer’s Apprentice” while updating the look with state-of-the-art computer animation. The sequences of the house coming alive, expressing a mind of its own, are playful, proving once again that Disney’s clever artists can imbue personality into almost any inanimate object.
The story is a flight of fancy that feels stretched to feature length, but the movie’s sheer exuberance makes up for any narrative lapses. Lively performances—almost as lively as the animation—upbeat Broadway style tunes by Miranda and a beautiful score by Germaine Franco, the first woman to score a Walt Disney Animated Studios movie, all underscore the movie’s messages of the importance of family and how we are all special in some way, no matter what gifts we have.
“Encanto” is a celebration of Latino culture that stresses embracing our differences, and what it lacks in narrative propulsion, it makes up for in joy and sense of wonder.
Richard joins Ryan Doyle and Jay Michaels of the NewsTalk 1010 afternoon show to talk about the history of champagne cocktails, the Kardashians retreat from television and “In the Heights”!
“In the Heights” (in theatres and on PVOD) is a crowd pleaser that offers heart and uplift in almost every frame. HERE’S Richard’s interview with stars Jimmy Smits and Olga Merediz! HERE’S a a shorter version OF “Vax for Joy!”
“In the Heights,” now playing in theatres, is a joyful movie based on Lin-Manuel Miranda’s Tony award-winning musical, that will make you feel better by the end of the movie than you did when it began. Energetic, exultant and empathetic, it feels like a long weekend away from real life.
A series of connected stories, “In the Heights” transcends its Broadway bound beginnings with a production cut loose from the confines of the stage. Shot on the streets of Washington Heights, New York, the story of a bodega, gentrification, a winning lottery ticket, love, community and the dreams of its characters is lovingly painted in big, bright colors by director John M. Chu.
The spider-web of a story weaves in and out of its character’s lives, centering around bodega owner Usnavi, played by the charismatic Anthony Ramos. Like almost everyone in the film Usnavi has a dream of a life beyond his neighborhood, and, in a sentiment borrowed from another famous musical, soon, most everyone discovers there’s no place like home.
“In the Heights” is a story of the immigrant experience that touches on the DREAM Act and fear of deportation, but is more concerned with its characters and their day dreams of creating better lives for themselves. It’s a story of resilience, of hope and it’s a tonic during these pandemic times when it seems the media, both social and mainstream, are incapable of delivering anything but unsettling news.
In an eager cast, Olga Merediz, who reprises her Broadway role as the neighborhood’s grandmother Abuela Claudia, and Melissa Barrera as Usnavi’s love interest Vanessa, are standouts.
The sheer spectacle of it all, however, may be the real star. Chu’s camera is in constant motion, capturing the many ensemble dance numbers that accompany the soundtrack’s hip-hop, salsa, merengue, soul and R&B, in an eye-popping manner. The Busby Berkeley-style “96,000” number, shot at a public swimming pool is a total throwback to Hollywood’s Golden Age, as is a terrifically staged gravity-defying dance on the side of a building.
It doesn’t all work, however. A framing device that sees Usnavi tell his story to a group of kids is clunky and the opening number, “In the Heights,” an almost eight-minute set-up to the story, is stylish but overstays its welcome.
Still, those are small issues in an invigorating crowd pleaser that offers heart and uplift in almost every frame.
In the now-shuttered world of musical theatre the name “Hamilton” is said in hushed reverential tones. The groundbreaking show, which mixes-and-matches hip hop, R&B, pop, soul and traditional show tunes to tell the story of American Founding Father Alexander Hamilton, was called “the phenomenon of the season, perhaps of a generation,” by Forbes. Its appeal to a younger audience, who packed NYC’s Richard Rodgers Theater night after night, gave Broadway a desperately needed shot in the arm and at one point the show was responsible for more than 5% of the Broadway districts total gross.
A new, filmed version, headed by creator Lin-Manuel Miranda, offers up a chance for people who couldn’t afford to blow a mortgage payment on tickets to the original production, to watch the show from the comfort of their Disney+ stream.
The movie, shot in June 2016 at the height of “Hamilton”-mania is anything but hushed or reverential. The show, which features a diverse cast including Black, LatinX and Asian actors to tell the story described as being about “America then, as told by America now,” is passionately political, raucously rebellious and emotionally deep. “Just like my country, I’m young, scrappy and hungry,” Miranda sings in a phrase that could be about the musical as much as it is Hamilton’s personality.
A toe-tapping history lesson, the show details the American Dream life of Hamilton, from an outsider born to unwed parents on the Caribbean island of Nevis to war hero to George Washington’s Revolutionary War aide, and, as first Secretary of Treasury under Washington’s administration, the founder of America’s economic system. It’s a bootstrap story about legacy, reputation, honor and if that wasn’t enough, there’s an extra-marital affair and, of course, the fateful duel with Aaron Burr.
Director Thomas Kail, who also directed the show’s Off-Broadway and Broadway productions, keeps the camera work to a minimum, simply and effectively capturing the show from a front row center perspective. It’s handsome work that tries to preserve the integrity of the live presentation while still creating a kind of cinematic experience.
As far as the show goes, what the filmed “Hamilton” presents is a moment in time when the musical lived at the very center of pop culture. The original cast, including Miranda, Phillipa Soo, Leslie Odom Jr., Daveed Diggs and Jonathan Groff among many others, are working a peak form. As a document of a special show the filmed version doesn’t add anything to the presentation, but perhaps that’s the point. Miranda’s daring, genre busting show speaks for itself, often with beautiful tongue-twisting wordplay, and doesn’t need flashy cinematic theatrics to bolster what is already a provocative and timely story of creating a union where none existed.
Somewhere in the world, right now, people are enjoying “Fiddler on the Roof.” In fact, as a new documentary on the making of the classic musical tells us, the show has been performed somewhere on earth every day since its 1964 Broadway debut. But why is it so popular? “Fiddler: Miracle of Miracles” aims to contextualize why the story of dairyman Tevye and his daughters in 1905 Imperial Russia resonates with audiences.
Director Max Lewkowicz spoke with 60 of the main players in “Fiddler on the Roof’s” creation, including lyricist Sheldon Harnick, producer Hal Prince and original cast member Austin Pendleton. Those interviews form the backbone of the early part of the film. We learn how Harnick and writer Joseph Stein collaborated with composer Jerry Bock to adapt Sholem Aleichem’s story “Tevye and his Daughters” for the stage. How when “West Side Story” choreographer Jerome Robbins came on board he introduced themes that echoed the civil rights movement in America.
It is that examination of tradition and the essence of change that deepened the show. It remained a Jewish story, a history about Eastern Europe, but now had a universal appeal to audiences. Even today the story of tradition and displacement, of uncertainties and hazards is both timeless and timely.
It’s interesting that the original production, led by the bigger-than-life Zero Mostel, was not a critical hit. But audiences loved it and interviews with fans Stephen Sondheim, Itzhak Perlman and “Hamilton’s” Lin-Manuel Miranda suggest why.
Lewkowicz also details the making of the Norman Jewison film, productions of the show ranging from an African-American high school production to stagings from all around the world, hammering home the widespread appeal of the story.
Then, of course, there is the music. Lewkowicz showcases multiple versions of hits like “Tradition,” “Matchmaker,” “If I Were A Rich Man” and “Sunrise, Sunset,” with one talking head suggesting, I think rightly, that after you hear the songs more than once they stay in your head forever.
“Fiddler: Miracle of Miracles” is a detailed history of a beloved show, with plenty of behind-the-curtain revelations—like the backstage war between Mostel and Robbins, who irked his star by testifying before the House Un-American Activities Committee—but this isn’t just a Broadway origin story, it’s a testament to the enduring power of art to speak to specific situations while illuminating broader issues.
Richard sat down with “Mary Poppins Returns” star Emily Mortimer. She plays Jane Banks, the grown up version of the girl in the original story. We talked about her love of the original book and why the story has great resonance for today.
