Tick, Tick... Boom!

Michael

Michael Pilch Studio

Directed by Felix Westcott and Mina Moniri

Music Direction by Adam Najmuddin Hall

Photography by Emma Earnshaw

Before signing on to Tick, Tick... Boom!, I knew very little about the show and it's history. I had seen the Netflix film early in January and quickly fell in love with the soundtrack. The show delves into a full range of musical genres from power ballads to rock, to commercial jingles and contemporary musical theatre, its full of high energy joy, sweeping sadness and a longing for more. And more than all this - it's so much fun to sing.

I’ll never understand how Todd can have been in so many musicals this year (Persephone, Carrie, Sweeney Todd ) and bring the same dedication to each role. This show gave Todd a chance to exercise his talents with a more reflective character in a more intimate setting and he effectively portrayed Michael’s struggles and despair.

~ Abigail Stevens, The Oxford Student

I also didn't realise before just how much TTB gives you an opportunity to stretch your acting skills with a variety of multi-roles. Quick changes galore lead you from moments of messy comedy as various caricatures of people in Jonathan Larson's life, to heartfelt tragedy in a mere matter of seconds, all while offering you the freedom to bring in lots of little personal touches that make the role your own. It's a head-spinning tour de force of a show and I loved every second of it's craziness, it's ecstasy and it's belting!

The other unique thing about TTB is that the three person cast is so small that the crew vastly outnumbers the cast! I learned so much from various members of the technical team from sound design to producing and music direction, it felt like such an immersive theatre experience all-round and it was such a privilege to work with such a talented and kind cast and crew.

The scene where Michael tells Jon he is HIV-positive was heartbreaking; both actors looked like they were struggling not to cry and played off each other with crippling emotion throughout the scene.

~ Abigail Stevens, The Oxford Student

This production was also the first relaxed performance in Oxford theatre, which was incredibly special to be a part of. Relaxed performances are designed to make shows accessible to those who are disabled, those who are sensitive to sensory experiences (like bright lights and loud noises) and those who struggle in large crowds of people, among other groups. It was amazing to be part of this change, but also saddening to realise that this is not the current way of thinking in Oxford theatre and that so many people are missing out on the arts simply because spaces are not designed to accommodate them. Making theatre accessible to all, be it as audience, cast or crew, requires more work from all of us in theatre. I firmly believe that this way of working will become the norm in the future, and I hope to continue to work towards an accessible theatre industry.