REVIEW: Tick, Tick . . . Boom!

This star vehicle is the show Patrick Earl Phillips deserves.

Jonathan Larson, the writer of “Rent,” was not the most prolific—“Rent” was his only real hit, though one wonders what would have happened had he not died so young. The small catalog that he left us with, though, is interesting. While “Tick, Tick . . .Boom!” is messy and feels incomplete, it does provide a showcase for real talent.

The Carnegie is now Cincinnati’s finest non-collegiate regional theatre for musicals. Over the years, they’ve produced some great work and some mediocre shows, too, but they are on fire this summer. “Rocky Horror” was a rousing creative and box office success, and now with “Tick, Tick . . . Boom!” Tyler Gabbard proves he can assemble the best teams who execute fine work. (Expectations are very high for “Beautiful: The Carole King Story” in a few weeks.)

This show is essentially a one-person musical, with two supporting players who accentuate the story and provide gorgeous harmony. But it’s “Jon’s” show - and since it’s an autobiographical account of Larson’s pre-mid-life crisis, it should be. I’ve been watching Patrick Earl Phillips on stage since he was a student at Xavier University. (Ironically, the first show I saw him do was called “From White Plains;” Larson’s hometown was White Plains, NY, so I suppose this is a full circle moment in some ironic, nuanced way.).

I’ve always found Phillips reliable; he sings well, is a believable actor, and has dynamic range. Turns from an addicted father in “Luna Gale” to a demon butcher named “Sam” in the play “Mercury,” Phillips has proven that he can do anything. But in “Tick, Tick . . . Boom!” he proves he can carry a show. His tour de force performance is nothing short of magnificent.

His chemistry with Annika Jonker (“Susan” and others) is palpable, and not only does he sing, dance, and act - he plays the keyboard! And rumor has it, he showed up to rehearsal while still appearing in “Hands on a Hardbody” at Ensemble Theatre off-book and ready to go. What an incredible casting choice; I cannot wait to see what he does next.

The two co-stars, Jonker and JT Langlas, play “Susan” and “Michael” as well as other minor characters. Susan is Jon’s girlfriend, and their flirting and squabbling are authentic and engaging. Jonker is sexy, dangerous, sweet, hilarious, and sings like an angel. Her big solo number, “Come to Your Senses,” earned a much-deserved extended applause break. Michael is Jon’s childhood best friend; Langlas provides excellent vocal harmonies and is at his most interesting when he morphs into the character of Jon’s father.

Matthew Umphreys’ musical direction is rich, lush, and full of sound. If you couldn’t see them on stage, you’d think the band was much larger than four players. Director Lindsey Augusta Mercer utilizes them creatively for a few scenes requiring more people to advance the story. They look like they’re having a great time.

Mia C. Teboe is back designing the sound and apart from a few opening night balance issues, the work is impeccable. Also back is Julie Cowger, who has another inventive and spectacular lighting design. Gabbard's set is exciting and functional, and Maria Fernanda Ortiz keeps things minimal but classy with a creatively light touch in costume design.

“Tick, Tick . . . Boom!” is not a spectacle like “Rocky Horror,” nor does it have the notoriety of “Beautiful.” But Phillips's performance - and this production - deserve to be seen. Get your tickets now.

TICK, TICK. . . BOOM! runs through July 28th at The Carnegie in Covington, KY. Next up is “Beautiful: The Carole King Story.” Co-productions with CCM Acting and CCM Musical Theatre hit the stage later (as well as Queen City Cabaret’s regular performances). Personally, I can’t wait to hear what’s in store for us next summer!