Tick, Tick... Boom! - Good Time Theatrics, PIP Theatre

Presented by Good Time Theatrics at PIP Theatre

Written by Jonathan Larson

Director & Producer – Kurtis Laing

Musical Director – Nate Stevenson

Original Choreography – Juliette Coleman

Associate Choreographer – Hannah Crowther

Band: Nate Stevenson (Keys), Joel Sanchez-Carn and Dylan Pinti (Guitar), Jess Hobbs (Bass), Rachael Jory and Marcelle Gunning (Drums)

Lighting Designer – Yasmin Elahi | Sound Designer – Peter van Brucken | Set Design – Brigitte Bennet

 Photography by Brittany Taylor Hetherington

Tick, Tick… Boom! hits differently when you’ve just turned thirty. Suddenly that ticking clock feels personal. It’s that restless mix of panic and passion that makes you want to either write a masterpiece or curl up and take a nap.

At PIP Theatre, Good Time Theatrics transformed their in-the-round space into 1990s New York, where a stressed-out composer tries to juggle his career, his relationship, and the dread of getting older. Maybe it’s because I’ve just joined the thirty club myself (and director Kurtis Laing has too), but I felt every anxious, hopeful beat of that tug-of-war between ambition and self-doubt, and the relentless ticking reminding you that life doesn’t wait.

Before the show even started, the room was alive. The cast mingled and joked with the audience while the band tuned behind them, and it instantly broke the fourth wall before a single note was played. It was the perfect entry into the world of Tick, Tick… Boom!: Jonathan Larson’s semi-autobiographical musical about a hopeful Broadway composer on the brink of turning thirty. He works at a diner by day and writes a futuristic rock musical by night, desperate for his big break while his best friend Michael trades acting for the corporate world and his girlfriend Susan dreams of a quieter life.

It felt like we were sitting right inside Jonathan’s mind: part rehearsal room, part New York apartment, part ticking time bomb, with “Boho Days” kicking off the show in a burst of audience participation. Designed by Brigitte Bennet, the stage floor looked like a giant sheet of music, the piano was plastered with scribbled notes, and posters of Stephen Sondheim hung proudly along the back wall as a nod to Larson’s mentor. A handful of chairs and costume pieces transformed into dozens of settings, while the band sat upstage, fully visible and very much part of the action. That open, garage-musical setup gave the production its authentic charm. It reminded us that Tick, Tick… Boom! was written by someone who created art in the cracks between real life and bills and friendships and love.

The trio of performers, William Kasper, Nykita O’Keefe, and Hamish Wells, were absolute powerhouses. Their chemistry was instant, their harmonies were tight, and their storytelling felt so genuine that at times it was like watching real friends navigate the highs and heartbreaks of creative life.

William Kasper was brilliant as Jonathan Larson. He brought passion, anxiety, humour, and vulnerability all at once, with that chaotic creative energy that makes you root for him from the moment he steps onstage. His voice was rich and steady through an incredibly demanding score, launching straight into a strong “30/90.” You could tell he was giving everything to this role, because by the time he reached the emotionally gruelling monologue later, he was visibly spent and slightly hoarse. He broke hearts kneeling at the piano with trembling hands, a cracking voice, and real tears, baring his soul in “Why,” a performance so honest that the whole theatre was thoroughly moved.

Nykita O’Keefe was stunning as Susan and Karessa. She moved so naturally between scenes of beaming joy or quiet heartbreak, never missing a beat vocally. Her “Come to Your Senses” was a goosebump moment, tender and intimate, performed directly to Jonathan as he sat in the front row in a chair labelled “Reserved for Stephen Sondheim.” It was a lovely, reverent moment for both of them. I’ve never heard Nykita falter in any performance, and she continued that streak here.

Hamish Wells brought endless charm and comedic brilliance to Michael and his smaller cameo roles. His quick switches between characters were hilarious, from smooth corporate executive to chaotic cashier selling Twinkies. His duet with Will, “No More,” was one of the night’s biggest highlights. They bounced around the stage like kids playing pretend, and the stamina and breath control they kept through all that physical comedy was highly impressive!

Together, the trio were unstoppable. Their group numbers were fantastic, especially “Johnny Can’t Decide,” “Green Green Dress,” “Sunday,” and the delightfully chaotic “Sugar,” which I hadn’t heard before and instantly loved. “Real Life” absolutely blew my mind and of course, “Louder Than Words” sent everyone home with shivers.

Musical direction by Nate Stevenson held everything together with precision and passion. His five-piece band filled the space with the gritty energy Larson’s score demands. They nailed tricky numbers like the overlapping chaos of “Therapy,” where Will and Nykita argued like two stubborn kids having a meltdown, perfectly in rhythm.

Lighting by Yasmin Elahi captured the show’s shifting moods with ease. Bright, vivid colours heightened the chaos while soft, melancholy tones settled over Jonathan’s moments of doubt. It all reflected his mental state without ever stealing focus. Sound design by Peter van Brucken was impressive too. Microphones were clear and the mix was well balanced, which is no easy task in an in-the-round venue. The market research scene was a standout with layered voices and effects that created that buzzing, hyperactive energy. Plus, the ticking motif woven throughout the show was the perfect touch, always there like the anxiety of time slipping away. Costumes were simple and exactly right: Jonathan’s rumpled flannel and jeans, Michael’s sharp business attire, and Susan’s elegant satin dress.

Under Kurtis Laing’s direction, the show flowed with a lovely sense of rhythm. Scene transitions were smooth thanks to the narration, and the story never lost momentum. Everything felt comforting, intentional, and honest. Laing clearly understood both the humour and the ache of Larson’s writing; that push and pull between creative obsession and personal sacrifice.

This production truly felt like Larson’s love letter to musical theatre, a reminder of why we create, why we dream, and why time never feels like enough. Everything aligned so beautifully: the performances, the direction, the music, the design. You could feel the audience riding every high and low with them.