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Tick, Tick... Boom!
Tick, Tick... Boom!
Tick, Tick... Boom!
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Tick, Tick... Boom!
2016 off-Broadway revival windowcard
MusicJonathan Larson
LyricsJonathan Larson
BookJonathan Larson
Script consultant
PremiereMay 23, 2001:
Jane Street Theater, Manhattan, New York City
Productions2001 Off-Broadway
2003 US Tour
2005 London
2009 West End
2014 Encores! Off-Center
2016 off-Broadway
2024 Kennedy Center
AwardsOuter Critics Circle Award for Outstanding Off-Broadway Musical

Tick, Tick... Boom! (styled as tick, tick... BOOM!) is a musical by Jonathan Larson. It tells the story of an aspiring composer named Jon, who lives in New York City in 1990. Jon is worried he has made the wrong career choice to be part of the performing arts. The story is semi-autobiographical, as stated by Larson's father in the liner notes of the cast recording – Larson had been trying to establish himself in theater since the early 1980s.

Larson began to perform the piece as a solo work in 1990. After his death in 1996, it was revised and revamped by playwright David Auburn as a three-actor piece and was premiered off-Broadway in 2001.[1] Since then, the show has had an Off West End production, a West End production, an American national tour, two Off-Broadway revivals, in 2014 and 2016, and numerous local and international productions.

A film adaptation, directed by Lin-Manuel Miranda and starring Andrew Garfield in the lead role, was released by Netflix in November 2021. It was generally well received by critics, and Garfield received a nomination for the Academy Award for Best Actor for his performance.

History

[edit]

The show was first performed as a workshop between September 6 and September 9, 1990 by Jonathan Larson at the off-Broadway playhouse Second Stage Theater under the title Boho Days. Larson revised the developing piece following the Second Stage workshop, changing the title to Tick, Tick... Boom!, and presented with him as performer in November 1991 at the Village Gate (produced by Larson's college friend Victoria Leacock), and then later in 1992 and 1993 in the "O Solo Mio" fests at New York Theatre Workshop.[2] Larson performed the show as a "rock monologue", a new form of theatre at the time. The performance attracted the attention of a young producer named Jeffrey Seller, who became a fan of Larson's work. In 1995, he saw the New York Theatre Workshop production of Larson's musical Rent and convinced his fellow producers to bring it to Broadway.

After Larson's death in 1996, Leacock asked David Auburn, author of the Pulitzer Prize-winning play Proof, to reconfigure Tick, Tick... Boom!. He restructured the monologue into a three-actor musical,[3] with one actor playing Jon and the other two actors playing Michael and Susan, as well as all the other roles in the show. The script and score were streamlined and edited. This revised version of the piece premiered off-Broadway at the Jane Street Theater on May 23, 2001. Auburn received credit as "Script Consultant".[1]

Plot

[edit]

Jon is an aspiring composer for musical theater, who lives in SoHo, New York. The year is 1990, and as his 30th birthday approaches Jon is worried about his aging and lack of achievement ("30/90"). Michael, a friend of Jon's since childhood, gave up acting to pursue a more lucrative career in marketing. Susan, Jon's girlfriend, is a dancer who teaches ballet to "wealthy and untalented children". On the roof of his apartment building, Jon reveals that he is nervous about an upcoming workshop of his newest musical, SUPERBIA. When Susan comes to join him, he comments on her dress and how beautiful it makes her look ("Green Green Dress").

The next morning, Susan asks Jon about the possibility of leaving New York. Jon is torn between following his dream of composing and opting for security and family in a different career ("Johnny Can’t Decide"). His reverie is cut short when he remembers his day job as a waiter in a SoHo diner ("Sunday").

After work, Michael picks Jon up in his brand new BMW to show Jon his new apartment. Michael exults at the thought of a life of luxury ("No More"), and pressures Jon further to consider changing his career path. He agrees to accompany Michael to work the next day and visit a brainstorming session at his firm. Back at home, Jon plans to spend the remainder of the evening composing, but is interrupted by a call from Susan ("Therapy").

At Michael's office, the brainstorming session involves naming a cooking fat substitute through a convoluted process. Jon sees the futility of the process and his unwillingness to cooperate gets him removed from the meeting. As Jon drives Michael to the airport for a business trip, they argue about the meeting. Michael tells Jon that the life Susan wants doesn't sound bad, and that he wishes his job could give him the chance to settle down ("Real Life").

After dropping Michael off, Jon goes to a rehearsal for SUPERBIA, but not before stopping to get a snack of Twinkies ("Sugar"). At the market, he spies Karessa Johnson, one of his actors for SUPERBIA. She reveals a similar weakness for Twinkies, and this leads to a sudden friendship between the two. After the rehearsal, Susan sees Jon and Karessa walking together and becomes jealous. Jon begs Susan to stay and be with him. Despite this, she leaves for home, and Jon thinks about what may have happened to make her behave this way ("See Her Smile").

The next morning, Jon arrives early at the theater for the workshop of SUPERBIA. Karessa steals the show with her performance of "Come to Your Senses". Jon gets many congratulations, but no offers to produce the show, and so, in his eyes, the workshop has been a failure. Jon visits Michael and tells him that he is through with music. Michael says that while he enjoys how he makes a lot more money now, he finds the job to be banal and unrewarding. The two argue, and Jon yells at Michael for not understanding fear or insecurity. Michael responds by telling Jon that he is HIV-positive. Shocked, Jon leaves quickly and wanders through Central Park until he finds himself at the closed Delacorte Theater. He finds an old rehearsal piano and begins to play it while collecting his thoughts. Jon ponders on whether the amount of sacrifice required for his career in music is worth it, and whether those telling him to "have it all, play the game" are right ("Why"). Ultimately, he realizes that he will only be happy as a professional composer, no matter what hardships that may bring.

The next morning is Jon's thirtieth birthday party ("30/90 (Reprise)"). He sees Susan, who is getting ready to leave. She gives him his birthday gift: a thousand sheets of blank manuscript paper. They agree to write to each other, and she leaves. The phone rings, and the caller is Jon's idol, Stephen Sondheim. Sondheim leaves Jon his contact information so they can meet and discuss SUPERBIA. Jon realizes that he is surrounded by friends and that his talents are finally being recognized ("Louder than Words").[4][5]

Characters

[edit]
  • Jonathan (also called: Jon, Johnny) Voice Type: Tenor, A2–A4[6]
  • Michael (also plays: Jon's Dad, Executive, Temp, Market research guy, Counter guy, Rosa Stevens) Voice Type: Baritenor, B♭2–G♭4[6]
  • Susan (also plays: Rosa Stevens, Jon's Mom, Secretary, Judy Wright, Karessa Johnson) Voice Type: Mezzo-soprano, A3–D5[6]

Musical numbers

[edit]
  • "30/90" – Jon, Michael, Susan
  • "Green Green Dress" – Jon, Susan
  • "Johnny Can't Decide" – Jon, Susan, Michael
  • "Sunday" – Jon and Diner Patrons
  • "No More" – Michael, Jon
  • "Therapy" – Jon, Susan
  • "Real Life" – Michael and Company
  • "Sugar" – Jon, Karessa, Counter Guy
  • "See Her Smile" – Jon and Company (including a reprise of "Real Life")
  • "Come to Your Senses" – Karessa
  • "Why" – Jon
  • "30/90 (Reprise)" – Jon
  • "Louder Than Words" – Company

Notes

  • "No More" features a sample from "Movin' On Up", the theme song of the television series The Jeffersons
  • "Sunday", Jon's song at the diner, is based on the Act I Finale from the Stephen Sondheim musical Sunday in the Park with George; Larson conceived it as a humorous homage to Sondheim, one of his biggest influences.[7]
  • In "Johnny Can't Decide", all the characters refer to themselves in the third-person, just like George in the song "Lesson #8" from Sunday in the Park with George. In the monologue version of the musical, only Jon did this.
  • Another reference to Sondheim is present in the song "Why". Not only mentioning West Side Story in the lyrics, the song utilizes the same tritone made famous in the West Side Story song "Maria".
  • "Why" contains fragments of several other songs: "Yellow Bird", "Let's Go Fly a Kite" from the film Mary Poppins, "Cool" and "Tonight – Quintet" both from West Side Story, and "Come to Your Senses" from Larson's Superbia.
  • On the cast recording, there is an additional song cut from the final version of the show, "Boho Days". This track is one of the few recordings of Larson's voice publicly available. It was extracted from a demo tape recorded by Larson during the development of Tick, Tick... Boom![8]
  • On the 1989 demo album of Tick, Tick... Boom!, one of the tracks is "Why," performed by Jonathan Larson himself. In this version, instead of "Come to Your Senses" - which was added after Larson's death - there are excerpts from "LCD Readout" and "Too Cold to Care," both originating from Superbia. These two songs underwent the most extensive rewrites in Superbia’s development, which is why Larson chose to feature them in "Why."

Productions

[edit]

Original off-Broadway production

[edit]

The revamped musical premiered off-Broadway at the Jane Street Theater on May 23, 2001, and closed on January 6, 2002. Directed by Scott Schwartz, with choreography by Christopher Gattelli, the cast was Raúl Esparza as Jon, Jerry Dixon as Michael, and Amy Spanger as Susan. Molly Ringwald and Natascia Diaz later replaced Spanger as Susan, and Joey McIntyre replaced Esparza as Jon. The production received seven Drama Desk Award nominations, including Outstanding Musical,[9] and won the Outer Critics Circle Award for Outstanding Off-Broadway Musical; Esparza won an Obie Award for his performance.[1] The original cast recording was released in 2001 by RCA Victor Broadway.[10] The off-Broadway production was imported to Seoul, South Korea briefly, with McIntyre, Dixon, and Diaz making up the cast.

Subsequent productions

[edit]
2003 American national tour

A touring production of the show was directed by Schwartz, with Christian Campbell as Jon, Nikki Snelson as Susan, and Wilson Cruz as Michael. The tour performed in Dallas, Fort Lauderdale, West Palm Beach, East Lansing, Michigan, Philadelphia, Baltimore, Minneapolis, Hershey, Pennsylvania, Pittsburgh, Chicago, and Boston.[11] Joey McIntyre joined the tour for its Boston run.[12] Planned stops in Nashville and Washington, D.C. were canceled, in part because of the Iraq War discouraging ticket sales for a show with its title.[13]

2005 London

Tick, Tick... Boom! opened in London at the Menier Chocolate Factory on May 31, 2005, running until August 28, 2005. Again directed by Scott Schwartz, the cast featured Neil Patrick Harris as Jon, Tee Jaye as Michael, and Cassidy Janson as Susan. Christian Campbell took over the role of Jon from Harris later in the run.[14]

2005 California

A California production ran at the Rubicon Theatre Company in Ventura, California, from November 19, 2005, through December 18, 2005. Scott Schwartz directed, Brent Crayon as music director, with a cast including Andrew Samonsky as Jon, Wilson Cruz as Michael, and Natascia Diaz as Susan. The production moved to the Coronet Theatre, West Hollywood, California, through July 16, 2006, with Tami Tappan Damiano as Susan.[15]

2005 Toronto

A Toronto production was mounted by Acting Up Stage Theatre Company at the Poor Alex Theatre in 2005. The director was Mario D'Alimonte, and the cast consisted of Dean Armstrong as Jon, Michael Dufays as Michael, and Daphne Moens as Susan.

2009 West End

Tick, Tick... Boom! had its West End premiere in a limited engagement at the Duchess Theatre from May 13–17, 2009, forming part of the 2009 Notes from New York season. Directed by Hannah Chissick, the cast comprised Paul Keating as Jon, Julie Atherton as Susan, and Leon Lopez as Michael.[16]

2014 Encores! Off-Center

New York City Center's Encores! Off-Center series produced a revival of Tick, Tick... Boom! starring Lin-Manuel Miranda as Jon, Karen Olivo as Susan, and Leslie Odom Jr. as Michael. Performances were June 25 through 28, 2014. Oliver Butler directed.[17]

2016 Off-Broadway

Tick, Tick... Boom! was revived in October 2016 at the Acorn Theater at Theatre Row, starring Ciara Renée, Nick Blaemire, and George Salazar.[18] Previews began on October 4, the show opened on October 20, and it closed on December 18, 2016. It was directed by Jonathan Silverstein, the artistic director of Keen Company.[1] Lilli Cooper took over the role of Susan on November 22, 2016.[19]

2024 Kennedy Center

Directed by Neil Patrick Harris, who previously played Jon in the London premiere, starring Brandon Uranowitz as Jon, Denée Benton as Susan and Grey Henson as Michael, running from January 26 through February 4 as part of the Kennedy Center's Broadway Center Stage series. Unlike most productions, the show includes an ensemble.[20]

Other productions

[edit]
2003 Hungary

The Hungarian production opened on July 23, 2003, on the open-air stage of Pécs, Hungary. It was directed by Tamás Balikó, the director of the National Theatre of Pécs, with musical direction by Zoltán Bókai. The cast was Attila Németh as Jon, Lilla Polyák as Susan, and István Fillár/Tamás Gregorovics as Michael. The production moved to the National Theatre of Pécs, where it opened on November 4, 2003, with new cast members Bernadett Tunyogi as Susan and Attila Csengeri as Jon. The production closed on February 26, 2004.

2007 Denmark

A Danish production played in 2007, starring Mads Æbeløe Nielsen as Jon, Thomas Bay Pedersen as Michael, and Christina Elisabeth Mørkøre as Susan, and directed by Jens Frausing. A recording of the Danish production was released in 2007.

2008 Mexico

Starring Marco Anthonio as Jon, Natalia Sosa as Susan and Beto Torres as Michael, this production opened at Teatro Rafael Solana on February 20, 2008.

2008 Canada

Ignition Theatre produced the production in May 2008 at The Matchbox in Red Deer, Alberta, Canada. It starred Joel Crichton as Jon, Wilmari Myburgh as Susan, and Curtis Labelle as Michael. The production ran from May 15 to 24.

2009 Westport

The production at the Westport Country Playhouse in Westport, Connecticut ran from June 23 through July 18. It was directed by Scott Schwartz, who directed the original off-Broadway production, and starred Colin Hanlon as Jon, Wilson Cruz as Michael, and Pearl Sun as Susan.

2009 Philippines

A Philippine production ran for three weeks in August 2009 at the Ateneo de Manila University. It was staged by Blue Repertory, the university's college-level musical theater group, under the direction of Bea Garcia.

2010 San Francisco

Theatre Rhinoceros presented the play at the Eureka Theatre from February 9 through 28, 2010.[21]

2010 Germany

The German premiere of the musical opened on March 11, 2010, in Kerpen near Cologne. It was directed by Barbara Franck and Marco Maciejewski with musical supervision by Philipp Polzin. Jon was played by Oliver Morschel and Daniel Wichmann, Michael by Sascha Odendall and Joshua Vithayathil, and Susan by Marina Schmitz and Michaela Berg. The songs were performed in English, with scenes done in German.

2010 London

The Union Theatre performed a fringe production in April 2010, featuring Leanne Jones, Ashley Campbell, and Adam Rhys Davies. It was directed by Damian Sandys.

2011 Spain

A Spanish production ran at Teatro Lara, Madrid, from July 14 through 22, 2011, under the direction of Pablo Muñoz-Chápuli and starring Jorge Gonzalo as Jon, David Tortosa as Michael, and Laura Castrillón as Susan.

2011 London

Tick, Tick... Boom! opened in London at the Africa Centre on October 14, 2011, directed by Simon Carnell, the cast featured Samuel Haughton as Jon, David Adams as Michael, and Katrina Boyd as Susan.

2012 Argentina

The 2012 Argentinian production of Tick, Tick... Boom! ran at the Maipo Kabaret Theatre under the direction of Nicolás Roberto and starred Andrés Espinel as Mike, Natalia Cesari as Susan, and Paul Jeannot as Jon.

2014 The Netherlands

Tresore Productions performed at various theatres in The Netherlands from March 3 – May 3, 2014, under the direction of Koen van Dijk, starring John Vooijs as Jon, Renée van Wegberg as Susan, and Sander van Voorst tot Voorst as Mike.

2018 Czech Republic

The Czech premiere of the musical was performed at Theatre Na prádle Prague under the direction of Martin Vokoun and starred Peter Pecha as Mike, Lucia Jagerčíková as Susan, and Tomáš Vaněk as Jon.

2018 Hong Kong

A Cantonese production was performed in Ngau Chi Wan Civic Centre Theatre by theatre company Musical Trio in 2018.[22]

2018 Brazil

A Portuguese production ran at Teatro FAAP in São Paulo from October 30, 2018, to January 31, 2019. It was directed by Leopoldo Pacheco and Bel Gomes and starred Bruno Narchi as Jon, Thiago Machado as Michael, and Giulia Nadruz as Susan.

2019 Taiwan

A production ran at the New Taipei City Arts Center in October 2019, featuring New York actor Matthew Bauman as Jon, Anthony Neely as Mike, and Ting-Fang Liu as Susan. Produced by the Tainaner Ensemble, the production was directed by New York director Darren Cohen.

2021 Shanghai

A Chinese production ran in Gong Stage from April 2, 2021 to April 11, 2021, then from June 22, 2021 to June 27, 2021. Cast included Yi-bin Zheng, Qi-sheng Ye, Zhen-kai Xia as Jon, Li-Tong Hsu, Hao-yu Chen, Hao-ran Liu as Susan, Ze Zhang, Le-tian Wang, Wei-gang Zhao as Michael. Produced by Cmusicals. Then in 2022, a long-term production ran in Strand Theatre from January 14, to September 12, which was once interrupted by 2022 Shanghai COVID-19 outbreak.

In 2024, Shanghai revival opened in Gong stage on April 12, 2024, the cast featured Er Mao and Meng-nan Qian as Jon, Jing-yuan Liao and Guo Hong as Susan, Jia-ming Tang and Ji-wen Xu as Michael. The revival production closed on April 21, 2024.

2022 Sweden

Produced by Fourth Wall Productions in Malmö and directed by Swedish director Helena Röhr. Jon played by Filip Vikström, Michael played by Erik Espinoza and Susan played by Kim Bergkvist.

2023 Australia

Produced by StoreyBoard Productions and directed by Tyran Parke. Jon played by Hugh Sheridan, Michael played by Finn Alexander and Susan played by Elenoa Rokobaro.

2023 Israel

Directed and translated by Roi Dolev, who will also star as Jon, with Inbal Zoashnin as Susan, and Snir Weiller as Michael. Performances are scheduled for October and November 2023 in Haifa and Tel Aviv.[23]

2023 Austria

Presented with German texts and English songs at the Volksoper (Vienna, Austria), directed by Frédéric Buhr and starring Jakob Semotan as Jon, Juliette Khalil as Susan and Oliver Liebl as Michael. Performances were part of the 2023/24 and 2024/25 seasons. [24]

2023 Poland

The production at Nova Scena of ROMA Musical Theatre in Warsaw opened on November 18, 2023 (as an open-ended run), directed by Wojciech Kępczyński, translated by Michał Wojnarowski. The opening night featured the cast of Marcin Franc as Jon, Maciej Dybowski as Michael and Maria Tyszkiewicz as Susan (the alternating cast includes Maciej Pawlak, Piotr Janusz and Anastazja Simińska respectively). Music direction is by Jakub Lubowicz.[25]

2024 San Diego

A Cygnet Theatre production Will be played at the Old Town Theatre (San Diego, CA), directed by Katie Banville and starring AJ Rafael as Jon, Emma Nossal as Susan and Leo EBanks as Michael. Performances are running from July 3 through August 4. Music direction by Dr. Randi Ellen Rudolph.[26]

2024 Singapore

Produced by Sight Lines and directed by Derrick Chew, Preston Lim (Jon), Ryan Ang (Michael), Vanessa Kee (Susan) star alongside Beatrice Jaymes Pung and Eric Larrea as the ensemble cast. Performances run from July 5 to 14 at KC Arts Centre.[27]

2025 Portugal

Produced by Ultraproduções and directed by Bernardo Raposo, a Portuguese production ran from March 7 to April 6, 2025 at the Auditório Santa Joana Princesa in Lisbon, starring Miguel Cruz as Jon, David Gomes as Michael and Sara Madeira as Susan.[28]

2025 Belgium

Produced by The Bridge Theatre and directed by Ewan Jones, the 2025 Belgium production starred Djavan van de Fliert (Jon), Dan Buckley (Michael), and Laura Marie Benson (Susan). Performances were held at Stassart House from 14 October to 2 November. Wout de Vocht (guitar), Rafael de Smet (bass), and Bram Iven (drums) formed the band alongside Musical Director Pietro Ramman (piano). The crew also included Musical Supervisor Mal Hall, Designer Stewart J Charlesworth, Lighting Designer Ben Jacobs, Sound Designer Vincent Debongnie, Production Manager Steve Bree, Sound Engineer Casper Le Compte, Stage Manager Sophie Lovelace, Sound Runner Mehmet Avcu, Costume Designer Dora Heller Russell, and Artistic Director Edward McMillan.[29] The rendition was met with positive reviews from local critics.[30]

2025 Chile

Produced by 3 Marias and directed by Ezequiel Fernanz, the Chilean production starred Lucas Sáez Collins (Jon), Anto Bosman (Susan), and Daniel Leyton (Michael). It premiered the 3rd of October of 2025 in the theatre of Centro Cultural Las Condes with 14 shows, receiving positive reviews by the public and critics.[31]

Casts

[edit]
Character Off-Broadway US tour London West End Encores! Off-Center Off-Broadway revival Kennedy Center
2001 2003 2005 2009 2014 2016 2024
Jon Raúl Esparza Christian Campbell Neil Patrick Harris Paul Keating Lin-Manuel Miranda Nick Blaemire Brandon Uranowitz
Michael Jerry Dixon Wilson Cruz Tee Jaye Leon Lopez Leslie Odom Jr. George Salazar Grey Henson
Susan Amy Spanger Nikki Snelson Cassidy Janson Julie Atherton Karen Olivo Ciara Renée Denée Benton

Film adaptation

[edit]
Main article: Tick, Tick... Boom! (film)

A film adaptation of Tick, Tick... Boom!, directed by Lin-Manuel Miranda, was produced by Ron Howard, Brian Grazer and Julie Oh.[32] The screenplay is written by Steven Levenson. The film was Miranda's feature-length directorial debut.[33][34] It premiered at AFI Fest on November 10, 2021, followed by a limited theatrical release in the United States on November 12, 2021, before being released by Netflix on November 19, 2021.[35] The film stars Andrew Garfield as Jon opposite Robin de Jesús, Alexandra Shipp, Vanessa Hudgens, and Joshua Henry.[36]

Awards and nominations

[edit]

Original Off-Broadway production

[edit]
Year Award Ceremony Category Nominee Result
2002 Outer Critics Circle Awards Outstanding New Off-Broadway Musical Won
Drama Desk Awards Outstanding Musical Nominated
Outstanding Book of a Musical Jonathan Larson & David Auburn Nominated
Outstanding Music Jonathan Larson Nominated
Outstanding Lyrics Nominated
Outstanding Director of a Musical Scott Schwartz Nominated
Outstanding Actor in a Musical Raúl Esparza Nominated
Outstanding Featured Actor in a Musical Jerry Dixon Nominated
Lucille Lortel Awards Outstanding Musical Nominated
Obie Awards Distinguished Performance by an Actor Raúl Esparza Won

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tick, Tick... Boom!

View on Grokipedia
from Grokipedia
is a semi-autobiographical rock musical created by Jonathan Larson, centering on an aspiring composer grappling with career frustrations, personal relationships, and the passage of time as he nears his 30th birthday in 1990s New York City. The work originated as Larson's solo rock monologue Boho Days in the late 1980s, evolving into the full musical Tick, Tick... Boom! by 1992, though it received its expanded three-character staging posthumously in 2001 at New York City's Playwrights Horizons, directed by Scott Schwartz and featuring Raúl Esparza as the protagonist Jon. Larson's untimely death from an aortic aneurysm in 1996, just before the premiere of his landmark musical Rent, delayed the musical's broader recognition, but it gained traction through regional and Off-Broadway productions, culminating in a 2014 Broadway revival starring Lin-Manuel Miranda that earned critical praise for its intimate portrayal of artistic perseverance. The musical's score, blending pop-rock elements with introspective lyrics, highlights Larson's signature style of fusing personal vulnerability with urgent theatrical energy, influencing subsequent works in the genre. In 2021, Lin-Manuel Miranda adapted it into a feature film for Netflix, starring Andrew Garfield in the lead role, which expanded the narrative with cinematic flourishes and ensemble sequences while honoring Larson's original vision, achieving commercial success and nominations including a Golden Globe for Best Motion Picture – Musical or Comedy.

Background and Creation

Jonathan Larson's Early Career and Influences

demonstrated an early aptitude for music, playing and while in choirs during his childhood in , where he also performed in high school. In 1978, he received a full merit scholarship to in , initially majoring in and participating in productions, but soon shifting focus to composing and writing as he created cabarets, including one addressing women's liberation. There, he encountered , whom he idolized and who later mentored him, providing grants and guidance that shaped Larson's approach to intricate, character-driven musical storytelling. Graduating with a BFA in 1982, Larson relocated to to pursue theater full-time, embodying the archetype of the aspiring artist through part-time jobs like waiting tables while developing his craft. Larson's compositional style drew from a fusion of rock and traditional musical theater influences, reflecting his self-described identity as a "rock-and-roller at heart" who absorbed contemporary sounds alongside theatrical sophistication. Key rock inspirations included , , , , and The Who, which infused his work with energetic, pop-inflected melodies and rhythms, while Sondheim's emphasis on psychological depth and verbal-musical integration provided structural rigor. This blend aimed to bridge Broadway's narrative traditions with the immediacy of modern music, evident in his early experiments that rejected conventional forms for more personal, eclectic expressions. Following graduation, Larson's first major project was Superbia (1983), a science-fiction musical initially conceived as an adaptation of George Orwell's 1984—exploring themes of , emotion suppression, and technological alienation—but reworked into an original after the estate denied rights, consuming nearly a decade of revisions and workshops without production. Sondheim's involvement included funding two development grants, underscoring the mentor's role in refining Larson's ambitious scope, though the project's unproduced status highlighted the systemic barriers facing innovative, non-commercial works in theater. These early endeavors, marked by persistent rejection and financial , directly informed the autobiographical urgency of Tick, Tick... Boom!, originally titled 30/90 and conceived in to capture the anxiety of nearing 30 amid unfulfilled ambitions.

Development and Evolution of the Work

conceived the material for what would become Tick, Tick... Boom! in the late , drawing from his frustrations developing his earlier musical Superbia, which received grants from but never reached full production. The work initially took shape as a solo rock monologue titled Boho Days, reflecting Larson's autobiographical struggles as a approaching age 30 amid unproduced projects and financial pressures. This version premiered September 6–9, 1990, at in , with Larson performing and accompanying himself on piano. Following the Boho Days workshop, Larson revised the piece, retitling it Tick, Tick... Boom! and expanding its structure while retaining the solo format. He performed this iteration publicly on November 25, 1991, at the Village Gate in , and reprised it at on December 4, 1992, and during the venue's O Solo Mio Festival on April 19, 1993. Larson continued staging informal readings, benefits, and workshops of the solo show through 1995, often to showcase his talent amid ongoing rejections, but it garnered no major production interest before his death on January 25, 1996. Posthumously, following the success of Larson's Rent, playwright adapted the solo script into a three-actor version, assigning distinct roles to the protagonist's and best friend Michael—characters previously evoked through Larson's narration and props. Auburn's revisions, completed around 2000, preserved Larson's score and lyrics while enhancing dramatic interplay, leading to the premiere on May 11, 2001, at the Jane Street Theatre, directed by with in the lead. This configuration, licensed by Music Theatre International, became the standard for subsequent productions, tours, and the 2021 film adaptation by , which restored two cut songs from earlier drafts.

Plot Summary

Tick, Tick... Boom! centers on , an aspiring living in in 1990, who confronts mounting anxieties as he nears his 30th birthday. While waitering to support himself, Jon labors over his Superbia, a science-fiction piece about a conformist society, but struggles with creative blocks and the fear that his dreams may remain unfulfilled. The story unfolds in a single act, blending narrative scenes with songs that reveal Jon's inner turmoil, including tensions in his live-in relationship with dancer , who urges him toward , , and relocating from the city's relentless pace. Jon's college roommate Michael, once an aspiring , now enjoys as an executive, embodying the allure of abandoning artistic ambition for corporate . A key sequence depicts the workshop presentation of Superbia to potential producers, which garners initial enthusiasm but ultimately fails to attract investment, amplifying Jon's crisis of purpose. Interwoven reflections on friends succumbing to AIDS and the inexorable "ticking" of time force Jon to interrogate the cost of perseverance versus compromise, culminating in a raw examination of self-defined success.

Characters and Themes

Principal Characters

Jon is the central , portrayed as an aspiring in his late twenties, on the verge of turning thirty, who confronts the ticking clock of unfulfilled ambitions in New York City's competitive theater scene. He embodies the internal conflict of balancing artistic integrity against practical realities, drawing directly from Jonathan Larson's own experiences as a struggling waiter and songwriter developing his sci-fi musical Superbia. The role demands a strong capable of conveying determination, introspection, and vulnerability, with Jon's narrative arc highlighting the sacrifices required to pursue creative dreams amid mounting personal and professional pressures. Michael, Jon's longtime best friend, represents the pragmatic alternative to artistic pursuit, having transitioned from aspirations to a lucrative in on . In his late twenties to mid-thirties, Michael achieves financial stability and , offering a stark contrast to Jon's precarious existence and prompting reflections on "selling out" versus perseverance. The character requires a strong to underscore his ambition and grounded worldview, serving as both and foil in Jon's deliberations. , Jon's girlfriend, provides emotional support while embodying desires for conventional stability, including and relocation away from the city's grind. Aged late twenties to early thirties, she navigates the strain of Jon's obsession with his work, highlighting relational tensions born from divergent life goals in the high-stakes environment of . Her role calls for a strong mezzo-soprano or , emphasizing practicality and quiet resilience amid the musical's exploration of love tested by uncertainty.

Central Themes and Autobiographical Elements

The musical explores the relentless pressure of time as a central motif, depicted through the Jon's impending thirtieth birthday, symbolizing the urgency to achieve artistic success before perceived irrelevance sets in. This theme manifests in songs like "30/90," where grapples with the fear that unfulfilled dreams will evaporate with age, reflecting broader anxieties about mortality and legacy in a youth-obsessed creative industry. Another key theme is the tension between artistic perseverance and pragmatic , as weighs his passion for composing against financial instability and relational strains. His roommate Michael abandons theater for a lucrative pharmaceutical job, embodying the allure of , while Susan urges settlement amid exhaustion from Jon's pursuits. The narrative critiques this dichotomy without resolution, emphasizing how creative ambition exacts personal costs, including isolation and doubt, yet warns against surrender as a form of self-betrayal. Friendship and the AIDS infuse the work with urgency, as confronts the fragility of life through his best friend Michael's diagnosis, highlighting themes of loss, resilience, and communal bonds strained by crisis. Set against 1990 New York, the story underscores how the epidemic accelerates the "tick" of time, forcing reckonings with purpose amid widespread tragedy. Autobiographically, the piece draws directly from Larson's mid-20s struggles, including his eight-year effort to produce the science-fiction musical Superbia, which faced repeated rejections while he supported himself as a waiter. mirrors Larson's own eve-of-30 crisis in , complete with a demo for Superbia that flops, echoing Larson's real-life setbacks before Rent's posthumous triumph. Characters like Michael parallel Larson's composer friend Matt O'Grady, who pursued stability, and reflects tensions in Larson's relationships, though Larson clarified the work as inspired by, not literal, autobiography. Originally conceived as a solo rock monologue performed by Larson in , it evolved into a three-character piece by , preserving his raw introspection on ambition's toll.

Musical Composition and Numbers

Structure and Style

Tick, Tick... Boom! is structured as a one-act musical without , running approximately 90 minutes and comprising 14 songs that advance the narrative through a blend of sung , solos, and ensemble pieces. The form employs three actors to portray ten characters, allowing for fluid shifts between principal roles— (the protagonist, based on Larson), Michael, and —and ensemble figures such as friends, family, and workshop attendees, which underscores the intimacy and economy of the production. This minimalist casting facilitates a chamber-like atmosphere, emphasizing emotional directness over elaborate staging. Originally developed as a solo rock monologue under the working titles Boho Days or 30/90, the piece premiered on September 6–9, 1990, at Second Stage Theatre, where Larson performed it alone, using rhythmic beats to cue memories and structure the autobiographical recounting of his struggles at age 30. Subsequent iterations, including performances in 1991 and 1992–1993 at venues like and , retained elements of this solo format while expanding the narrative scope. Following Larson's death in 1996, dramaturg and producer Victoria Leacock adapted it in into the current three-person ensemble version for its debut, incorporating songs like "Come to Your Senses" from Larson's unfinished project Superbia to deepen character interactions and dramatic tension. Stylistically, the musical fuses sensibilities with traditional musical theater conventions, featuring driving rhythms, electric guitar-driven arrangements, and lyrics that mix introspective vulnerability with urgent energy to reflect the protagonist's creative and personal crises. The score demands strong vocal capabilities from the cast, prioritizing raw emotional delivery over operatic polish, which aligns with Larson's intent to capture the immediacy of New York bohemian life amid looming adulthood pressures. progression often eschews strict linearity, employing song cycles and meta-theatrical breaks—like the titular "tick, tick... boom" motif evoking a clock—to mirror the fragmented urgency of artistic ambition, though the provides a cohesive arc from doubt to resolve. This hybrid approach, evolved from Larson's solo performances, prioritizes accessibility and melodic hooks while retaining autobiographical candor, distinguishing it from more plot-driven musicals of the era.

Key Musical Numbers

The score of Tick, Tick... Boom! comprises fourteen songs by , characterized by a pop-rock style that integrates driving rhythms, anthemic choruses, and introspective ballads to mirror the Jon's existential pressures and artistic ambitions. These numbers advance the narrative through autobiographical reflections on aging, career stagnation, and relational strife in New York, often employing ticking motifs to symbolize time's inexorable passage. "30/90", the explosive opener performed by Jon alongside friends Michael and Susan, articulates Jon's panic over turning thirty on , 1990, framing his life as a countdown to unrealized potential with urgent, metronomic lyrics and ensemble harmonies that evoke a pressure cooker. This number establishes the musical's central tension between youthful dreams and adult compromises, recurring as a to underscore Jon's mounting anxiety. In "Sunday", and diner patrons deliver a buoyant yet sardonic ensemble piece that contrasts the drudgery of service jobs with fleeting aspirations, incorporating rhythmic clatter from plates and counters to mimic daily tedium while nodding to Stephen Sondheim's influence through its observational wit and structural echoes of Sunday in the Park with George. The highlights Jon's alienation amid routine, amplifying themes of unfulfilled creativity in a bohemian yet precarious urban existence. "", a between Jon and , dissects their fraying partnership via rapid-fire exchanges and escalating harmonies, exposing how Jon's obsession with his sci-fi musical Superbia erodes intimacy and prompts Susan's ultimatum to prioritize stability over art. Its conversational style, blending argument with melody, reveals causal strains from deferred life decisions, with Susan's pleas grounding Jon's idealism in relational costs. "Green Green Dress" offers a brief, tender interlude where fantasizes about domestic bliss with , its lush, romantic strains providing momentary respite from conflict but underscoring his internal tug-of-war between love and ambition. "Come to Your Senses", drawn from Superbia and performed in a raw, gospel-inflected solo amid Michael's AIDS diagnosis, confronts denial and loss, urging awakening to mortality's urgency; its emotional peak, with soaring vocals and sparse , draws from Larson's era-specific encounters with the , transforming personal grief into a broader call for presence. The closing "Louder Than Words" rallies with rock propulsion and full-cast exhortation, insisting that true progress demands action over rhetoric, as resolves to persist despite setbacks; its anthemic build resolves the score's ticking dread into defiant momentum, encapsulating Larson's ethos of relentless creation.

Stage Productions

Original Off-Broadway Productions

The musical originated as a solo rock monologue titled Boho Days, first workshopped and performed by from September 6 to 9, 1990, at Second Stage Theatre. This autobiographical piece, subtitled "30/90" in some iterations to reflect Larson's impending thirtieth birthday, featured Larson portraying multiple characters with piano and band accompaniment, exploring themes of artistic struggle and time's passage. Larson continued developing and staging solo versions throughout the early 1990s, including presentations in 1992 and 1993 as part of the "O Solo Mio" solo performance festivals at . These intimate, evolving stagings at venues like served as platforms for Larson to refine the material amid his broader creative pursuits, though they remained small-scale and unrevised into a full ensemble format during his lifetime. Following Larson's death in 1996, the work was posthumously adapted into a three-character musical by playwright David Auburn and dramaturg Rachel Kurtzmann, expanding roles for Susan and Michael beyond Larson's solo portrayals. This version premiered Off-Broadway at the Jane Street Theatre with previews beginning May 23, 2001, and officially opening June 13, 2001, under the direction of Scott Schwartz. The production starred Raúl Esparza as Jon, Amy Spanger as Susan, and Jerry Dixon as Michael, with musical direction by Kurt Crowley and choreography by Christopher d'Amboise. Produced by Victoria Leacock, Robyn Goodman, Dede Harris, Lorie Cowen Levy, and Beth Smith, it ran for 215 performances, closing on January 6, 2002, and marked the first full staging of the ensemble adaptation, drawing renewed attention to Larson's pre-Rent oeuvre.

Major Revivals and Tours

A U.S. national tour of Tick, Tick... Boom! launched on January 7, 2003, in , , featuring as Jon, as Michael, and Nicole Ruth Snelson as Susan. The production visited cities including Fort Lauderdale, Palm Beach, East Lansing, , , , Hershey, Nashville, Washington, D.C., and , concluding in June 2003. This tour followed the musical's original run and helped expand its audience beyond New York. In 2014, a high-profile staging opened at as part of the Encores! Off-Center series, running from June 25 to June 28. starred as Jon, alongside as Susan and Leslie Odom Jr. as Michael. The limited run, directed with a focus on the work's raw energy, generated significant buzz and renewed interest in Jonathan Larson's oeuvre. A subsequent revival by the Keen Company premiered on October 10, 2016, at the Pershing Square Signature Center, emphasizing the musical's youthful vitality in a chamber production. Nick Blaemire led the cast as , with the staging praised for its emotional directness and rock-infused score. This revival ran through November 2016, offering audiences a more intimate take on the autobiographical piece.

Recent and International Productions

A revival of Tick, Tick... Boom! was presented at the Center for the in , from January 26 to February 4, 2024, directed by as part of the Broadway Center Stage series. The production featured a cast including as Jon, Jenna Rubaii as Susan, and J. Anthony Crane as Michael, emphasizing the musical's rock-infused score in a larger theatrical format. In the United States, regional theaters continued mounting productions into 2025, including at the Chance Theater in , as part of its 2025 season announced on November 27, 2024. Similarly, Fort Salem Theater in New York hosted performances from August 8 to 16, 2025, in its room. Internationally, a production opened at Theatr Clwyd in Mold, Wales, in June 2025, directed by Kate Wasserberg in her debut as following the venue's redevelopment; critics noted its energetic staging and focus on creative ambition. In Belgium, the Bridge Theatre in staged the musical from October 14 to November 2, 2025, directed and choreographed by Ewan Jones, highlighting themes of artistic struggle in a 1990s New York setting. Other international efforts included a 2025 run by You Do You Theatre Co. at Theater STOK in , , an amateur production licensed through Music Theatre International. In , PIP Theatre in programmed a 2025 production, framing it as a semi-autobiographical exploration of creativity's demands. The Greek National Opera announced performances for January 10 and 11, 2026, at its alternative stage, with accessibility features for those dates.

Principal Casts and Performances

The principal roles in Tick, Tick... Boom! are (the , a facing his 30th birthday), (Jon's girlfriend, a dancer), and Michael (Jon's best friend, an actor turned pharmaceutical researcher). The original production at the Jane Street Theatre in 2001, directed by , opened on May 23 and ran for 85 performances, with originating , as , and Jerry Dixon as Michael; the cast recording was released on September 11, 2001. Esparza departed the production on October 7, 2001, succeeded briefly by and then , who performed through the closing on November 18, 2001. Notable later productions included the 2014 Encores! Off-Center concert staging at New York City Center from June 25–28, directed by Oliver Butler and featuring Lin-Manuel Miranda as Jon, Karen Olivo as Susan, and Leslie Odom Jr. as Michael. A 2023 Broadway Center Stage production at the Kennedy Center, directed by Neil Patrick Harris, starred Brandon Uranowitz as Jon, Denée Benton as Susan, and Grey Henson as Michael from December 19–31.
ProductionDatesJonSusanMichaelSource
Original Off-Broadway (Jane Street Theatre)May 23–November 18, 2001Raúl Esparza (original; succeeded by Christian Campbell, then Neil Patrick Harris)Amy SpangerJerry Dixon
Encores! Off-Center (New York City Center)June 25–28, 2014Lin-Manuel MirandaKaren OlivoLeslie Odom Jr.
Broadway Center Stage (Kennedy Center)December 19–31, 2023Brandon UranowitzDenée BentonGrey Henson

2021 Film Adaptation

Production Details

The film adaptation of Tick, Tick... Boom! was announced in June 2019 when acquired worldwide rights to the project from . was attached as director in his feature-length debut, with adapting the screenplay from Jonathan Larson's original one-man show. Producers included , , and Julie Oh for , alongside Miranda; executive producers were Julie Larson (Larson's sister) and Levenson. The production was handled by and 5000 Broadway Productions. Principal photography commenced on March 3, 2020, in , but proceeded for only eight days before halting on March 12 due to the . Filming resumed in September 2020 under strict safety protocols, continuing through October and November for a total of 43 shooting days without additional shutdowns. The estimated production budget was $55 million. followed the completion of , enabling a world premiere at the AFI Fest on November 10, 2021, a on November 12, and a full streaming debut on on November 19.

Casting and Direction

directed Tick, Tick... Boom! in his feature-length directorial debut, transforming Jonathan Larson's one-man rock monologue into a full biographical with an and integrated dance sequences. Miranda's approach blended theatrical energy with cinematic techniques, including fluid camera work during musical numbers and meta-elements like fantasy sequences to evoke Larson's creative process. Andrew Garfield stars as Jonathan Larson, portraying the composer on the verge of his 30th birthday amid professional frustrations; Garfield prepared by dedicating a year to vocal training focused on breath control, range expansion, and immersion in Larson's life through research and archival materials. Alexandra Shipp plays Susan Wilson, Larson's dancer girlfriend; Robin de Jesús portrays his best friend Michael; Vanessa Hudgens appears as aspiring actress Karessa; and Joshua Henry as roommate Roger. Supporting roles include Judith Light as a producer and Bradley Whitford as Stephen Sondheim in a pivotal advisory scene. Miranda populated ensemble scenes with over 30 cameo appearances by Broadway composers, performers, and directors—such as , , and Stephen Sondheim's real-life collaborators in the "" number and workshop sequences—to honor the New York theater ecosystem that shaped Larson. This casting strategy amplified the film's autobiographical resonance, drawing on performers with direct ties to Larson's era and influence.

Reception and Analysis

Critical Reception

The 2001 Off-Broadway revival of Tick, Tick... Boom!, directed by Scott Schwartz and starring Raúl Esparza, earned positive reviews for its raw depiction of a composer's creative frustrations and relational tensions on the cusp of turning 30. Variety commended the production's vitality in exploring the protagonist's angst over unfulfilled ambitions in musical theater. Ben Brantley of The New York Times highlighted its introspective focus on milestone-age soul-searching, noting Esparza's commanding performance as the central figure grappling with time's pressure. Later stagings, including the 2014 Encores! Off-Center concert version and the 2016 Keen Company revival, continued to receive acclaim for showcasing Jonathan Larson's early songwriting prowess as a precursor to Rent, though some critics observed the work's unpolished, autobiographical intensity reflective of its developmental origins from a 1990 solo . described the 2016 mounting as a poignant reminder of Larson's truncated career, praising its emotional resonance despite structural youthfulness. Aggregated critic scores for Off-Broadway productions averaged 85% approval on Show-Score, based on over 260 reviews emphasizing the score's rock-infused energy and lyrical insight into artistic perseverance. The 2021 film adaptation, directed by , achieved broad critical success, holding an 88% Tomatometer score from 224 reviews on , where the consensus praised its transformation of Larson's creative odyssey into "musical magic." It earned a Metacritic average of 76 out of 100, with reviewers frequently lauding Andrew Garfield's nuanced portrayal of Larson, capturing the composer's urgency and vulnerability amid 1990 New York pressures. Critics from outlets like noted the film's effective blend of homage and innovation, though some pointed to occasional overcrowding in ensemble sequences as a concession to cinematic scale over the stage's intimacy.

Criticisms and Controversies

Some critics have argued that Tick, Tick... Boom! romanticizes the struggles of aspiring artists in a manner that borders on self-indulgent , portraying Jonathan Larson's personal ambitions as emblematic of broader creative heroism while overlooking the insularity of Broadway culture. In a December 3, 2021, review, described the film adaptation as promoting a "careerist " through its focus on Larson's determination, likening it to other biopic failures that elevate showbiz without deeper . The work has also drawn criticism for its handling of the AIDS epidemic, which forms a backdrop to Larson's story but is often treated as peripheral to his individual timeline rather than a systemic disproportionately affecting and marginalized communities. A November 22, 2021, analysis in The Swaddle contended that the narrative privileges the "tragedy of time" for a straight, artist's pursuits amid friends' deaths from the disease, without interrogating how socioeconomic and identity-based privileges determined who could afford to chase dreams during . Similarly, user reviews on platforms like have labeled the portrayal "distasteful," accusing it of using AIDS for emotional leverage without substantive engagement. In the 2021 film, the omission of the song "Green Green Dress"—a exploring relationship tensions—sparked among fans and musical enthusiasts, who viewed it as a key emotional beat repurposed or excised for pacing, diminishing character depth in Susan's arc. While not escalating to widespread backlash, such changes fueled discussions on adaptation fidelity versus directorial choices by .

Awards, Nominations, and Recognition

The 2001 Off-Broadway production of Tick, Tick... Boom! won the Outer Critics Circle Award for Outstanding Off-Broadway Musical. It received seven Drama Desk Award nominations, including for Outstanding Musical, Outstanding Music, Outstanding Lyrics, and Outstanding Book of a Musical. Subsequent productions garnered additional nominations. The 2014 Broadway concert staging earned a nomination for Outstanding Revival of a Musical at the Drama Desk Awards. A 2017 revival was nominated for Outstanding Revival of a Musical at the Drama Desk Awards.
Award CeremonyCategoryRecipientResultYear
Outstanding Off-Broadway MusicalTick, Tick... Boom!Won2002
Drama Desk AwardsOutstanding MusicalTick, Tick... Boom!Nominated2001
Drama Desk AwardsOutstanding Revival of a MusicalTick, Tick... Boom! (2014 concert)Nominated2014
Drama Desk AwardsOutstanding Revival of a MusicalTick, Tick... Boom! (2017 revival)Nominated2017
The 2021 film adaptation received significant accolades, particularly for Andrew Garfield's portrayal of . Garfield won the Golden Globe Award for Best Performance by an Actor in a Motion Picture – Musical or Comedy at the 79th ceremony on January 9, 2022. The film was nominated for Best Motion Picture – Musical or Comedy at the same event. Garfield also secured the Award for and the Washington D.C. Area Film Critics Association Award for in 2021. At the on March 27, 2022, the film earned nominations for () and Best Film Editing (Myron Kerstein and ). received a nomination for Best Director.

Legacy and Cultural Impact

Tick, Tick... Boom! has maintained a presence in musical theater through numerous professional and amateur productions worldwide since its 2001 Off-Broadway premiere as a three-actor show, demonstrating its appeal to performers grappling with themes of creative ambition and temporal urgency. Licensed by Music Theatre International, the work has seen revivals including a 2014 Broadway run and ongoing stagings, such as at Chance Theater in 2025, underscoring its adaptability for contemporary ensembles. The musical's legacy is intertwined with Jonathan Larson's broader contributions, originating as his 1990 rock monologue Boho Days and evolving to reflect his pre-Rent frustrations, which indirectly facilitated Rent's development after producer Jeffrey Seller encountered Larson's material via early iterations. It embodies Larson's ethos of relentless pursuit amid failure, as seen in his abandoned project Superbia, influencing subsequent generations by portraying the precarity of artistic life in New York. Notably, has cited exposure to Tick, Tick... Boom! as pivotal in igniting his passion for musicals, crediting it for shaping his trajectory toward works like Hamilton, thus establishing a direct lineage of inspiration from Larson to modern composers. This connection highlights the piece's role in perpetuating a tradition of introspective, character-driven musical storytelling, akin to influences from , whom Larson admired and whose mentorship extended to Miranda. Culturally, the work resonates as a cautionary yet motivational on the artist's "thirty-thirty" —nearing 30 without breakthrough—fostering discussions on resilience and opportunity costs in creative fields, with its 2021 amplifying these themes to broader audiences while honoring Larson's unfulfilled visions.

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  84. https://www.onstageblog.com/columns/2022/1/26/ticktickboom-is-a-tribute-to-larsons-dream-to-make-an-impact-on-the-world
  85. https://www.vox.com/culture/22787502/tick-tick-boom-lin-manuel-miranda-jonathan-larson
  86. https://playbill.com/article/how-tick-tick-boom-composer-jonathan-larson-inspired-lin-manuel-miranda-to-tony-winning-success-com-322857
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