Love, Artistry, and the Ticking Clock

“Lately I’ve been hearing this sound everywhere I go. Like a tick… tick … tick…” 

Silently, the screen flickers to life, layered by the nostalgic aesthetics of a fuzzy VHS video. A young man steps onto the stage as the spotlight illuminates his face. With a delighted expression, he introduces himself as “Jon”— all whilst an analog clock can be heard in the background, its ticking sound getting louder by the second. And with that, our story begins. 

Based on a semi-autobiographical work sharing the same title, Lin Manuel-Miranda’s Tick, Tick…Boom! offers a close-up view into the life of Broadway legend Jonathan Larson. Played by Andrew Garfield in the film, he was most known for creating the rock musical RENT, a massive success that eventually went on to become Broadway’s 11th longest running show. Sadly, however, Larson himself never got to witness the accomplishment— the composer passed away from an aortic aneurysm on the morning of RENT’s first performance, at the mere age of 35. Perhaps what strikes as most compelling about Larson’s life then, alongside his cruelly timed death, is the underlying sense of urgency and purpose that shaped his work. Drawing from his experiences as an artist living in New York City during the 1980s— amidst the AIDS epidemic and many other social turmoils— Larson centered much of his creative projects around profound explorations of death, love and, above all, the finitude of living as one races against the ticking clock. This hyper-awareness of human mortality remains palpable in Miranda’s film, where viewers are presented with the tumultuous mind of Larson as he struggles to place a finger on life’s larger questions. A spectacle filled with catchy tunes, star-studded cameos, and stirring performances— Tick, Tick… Boom! establishes itself as a celebration of Larson’s lasting legacy, a testament to the pleasures and woes of making art, and a gentle nudge which reminds us all— perhaps now more than ever— that better days await those with the courage to hope and dream. 

So, without further ado— and in honor of Jonathan Larson— here is a complete ranking of all the songs featured in Tick, Tick…Boom!, sorted by their emotional impact, lyricism, muscality, and significance within the film.    

13. Green Green Dress

“The green, green dress

Twenty buttons and a strap

The green, green dress

What a pleasure to unwrap

Green dress, oh what it can do

What the green, green dress does to me on you

Me on you”

Backgrounding a romantic scene between Jonathan and his girlfriend Susan, this R&B tune by Joshua Henry is a sensual, playful tune that encapsulates the couple’s strong attraction towards each other. Although it pales in contrast to other songs on the list in terms of emotional impact, the smooth sounds and languid pace of “Green Green Dress,” coupled with its vivid description of the mesmerizing outfit at hand, immerse viewers in an intimate setting that is equally pleasurable to the eyes and ears.

12. Play Game

“That's the play game (That's the play game)

I must be insane to play the play game

Even off Broadway, it's no guarantee

That some MBA won't decide what you see

Just like America, lackin' innovation

Just gettin' by on glitz and reputation”

This hip-hop track features Tariq Trotter (aka Black Thought) rapping about the unspoken rules of American show business, as a disgruntled Jonathan is seen trudging through the streets of New York’s theatre district. The biting lyrics, funky beat, and colorful aesthetics of the number renders it a fun moment to dance along with in the film. 

11. Swimming

“Forward motion through the water (Come to your senses)

Escape (Come to your senses; come to your senses)

I am soaring, I'm the water (You're on the air; you as the knight)

Escape (I'm underground; me as the queen)”

We’ve all been there— the creative slump that makes us want to scream and pull out our hair. In this number, Jonathan escapes to a swimming pool in the midst of making frustrating progress on his new song. What begins as a rhythmic countenance of Jonathan’s exasperation then culminates into a sudden and soft piano interlude as inspiration strikes, depicting his eureka moment with a sense of relief that is palpable through the screen. Combined with the incredible imagery of pool tiles morphing into an array of musical staffs and notes, “Swimming” is a painfully accurate portrayal of the struggles and thrills shared by all artists in their creative process.   

10. Real Life

“Is this real?

Is this real?

Is this real life?”

One of the heavier songs in Tick, Tick…Boom!, “Real Life” is performed after Jonathan’s best friend, Michael, reveals himself to be HIV positive during a heated argument with Jonathan. Despite the number being brief in length and containing only a single refrain, Robert de Jesús’ haunting vocals work in tandem with the gradual swell of instrumentals to deliver a powerful performance of grief and reckoning. At its core, the song pays respect to the many brave lives who fought against the AIDS crisis, and it reminds us that seemingly simple things like health should never be taken for granted. 

9. Why

“I thought

Hey, what a way to spend a day

Hey, what a way to spend a day

I made a vow

I wonder now

Am I cut out to spend my time this way?”

Directly following Michael’s shocking revelation, “Why” is a melancholic song that captures the quiet beauty of Jonathan and Michael’s friendship. Singing about fond memories of them two performing in talent shows and high school plays together, Jonathan laments the strain that his creative ambition has placed on his relationships with those around him. As the gentle melody carries on, the composer questions if his artistic endeavors are truly worth the sacrifices made, before finally deciding that committing to his work is the best way to do right by his friends and family.     

8.  Johnny Can’t Decide

“Johnny has no guide

Johnny wants to hide

Can he make his mark, if he gives up his spark?

Johnny can't decide”

Troubled by his stagnant career and conflicting perspectives with Michael and Susan, Jonathan ponders with hesitation about where life will lead him next. Accompanied by the hush of soft percussion, Garfield, Henry, and Vanessa Hudgens’ gentle but firm vocals blend seamlessly together in this performance. With lyrics that convey a longing for resolution and assurance, the song’s genuine take on the nagging anxieties of those at a crossroad in their lives is sure to resonate with viewers.  

7.  No More

“No more exotic

No more neurotic

No more anything but pleasantly robotic

We're movin' on up (We're movin' on up)

To the east side (To the east side)”

“No More” is an upbeat, lively track that sings of Michael’s transition from his run-down apartment in Soho to his luxurious place in the Upper East Side. The lyrics comprise a hefty but catchy list of less than desirable living conditions, as viewers are directed back and forth between Jonathan and Michael in their previously shared residence and the latter’s new home. With a choreographed dance routine that involves tuxedos, exploding glitter, and flying dollar bills, Garfield and de Jesús manage to bring “No More” onto the next level with their on-screen chemistry. 

6.  Sunday

“People screaming for their toast

In a small SoHo cafe

On an island in Two Rivers

On an ordinary

Sunday”

In the middle of a hectic Brunch shift at the Moondance Diner, Jonathan breaks into the tuneful  “Sunday” for a brief respite from his snowballing stress. Singing of the difficult customers that frequent the diner, the track’s scornful lyrics make for a stark contrast against its serene melody— lending a whimsical and almost magical quality to itself. Featuring cameos from a myriad of Broadway icons such as André De Shields, Bernadette Peters, and Adam Pascal (who was an original cast member of RENT), “Sunday” is a magnetic piece that speaks for Jonathan’s talents and aspirations as a songwriter.

5.  Therapy

“I feel bad, that you feel bad

About me feeling bad, about you feeling bad

About what I said, about what you said

About me not being able to share a feeling”

With charismatic performances from Garfield and Hudgens, who mimic an estranged couple, this witty number in the film is interspersed with snippets of a heated (if not long overdue) argument between Jonathan and Susan. Although the song’s tone can be described as lighthearted and humorous, it’s also underscored with a distinct bitterness typical of all lovers’ quarrels. Layered with emotional richness ranging from indignation to frenzy and finally reluctance,  “Therapy” is a showstopper that leaves viewers struggling to decide if they want to laugh or groan at the unfolding conflict. 

4.  Come to Your Senses

“Come to your senses

Suspense is fine

If you're just an empty image emanating out of a screen

Baby, be real

You can feel again

You don't need a music box melody to know what I mean”

Enveloped by lilting notes from the piano, as well as Hudgens and Shipp’s impressive vocals, “Come to Your Senses” is a moving ballad that arrives to Jonathan’s aid in his dejection— reminding the composer that his simple but passionate love for music is worth more than any accolade or million-dollar cheque. With clever allusions to a muffled music box, mismatched signals, and a static TV screen, this persuasive number culminates into a powerful moment of realization that touches the hearts of audiences both on and off screen. 

3.  Boho Days

“This is the life, bo-bo, bo-bo, bo

This is the life, bo-bo, bo-bo, bo

Bohemia (Ya, ya, ya)

Bohemia (Woo-hoo-hoo)”

Backed with only percussion taps and a capella, “Boho Days” is perhaps the film’s most distinguished and memorable number. While hosting a party at his home, an amused Jonathan bursts into song, with the other guests following suit as they tap along to things from each other’s backs to the apartment’s doorway. Led by Garfield’s enthusiastic performance, the lyrics’ playful jabs at the bohemian lifestyle, and Miranda’s ability to construct a scene that exudes crackling energy— not only is “Boho Days” a perfect embodiment of Jonathan Larson’s character and artistry, but a tune that is sure to be stuck in viewers’ heads long after the film ends too. 

2.  30/90

“Who cares about a birthday?

But 30/90, hey

Can you be optimistic?

You're no longer the ingenue

Turn thirty, 1990

Boom! You're passé

What can you do?”

The opening track to Tick, Tick…Boom!, “30/90” attests to Jonathan’s ever-growing sense of dread towards growing old, as well as his frustration towards life’s pesky bumps that have hindered his journey towards success. Comparing his upcoming 30th birthday to the inevitable forces of taxes and City Hall, along with references to the beloved childhood classics of Peter Pan and The Wizard of Oz, the composer sheds a comically bleak light on matters like aging and adulthood. Speaking to the part in each and every one of us that wishes for youth to last forever, the urgency of “30/90” skillfully sets the film’s tone and events into motion.  

1.  Louder than Words

“Cages or wings

Which do you prefer?

Ask the birds

Fear or love, baby

Don't say the answer

Actions speak louder than words”

Alas, all good things must come to an end— but what better way to round off this list than with the film’s closing number itself? “Louder than Words” asks all the big questions that we sometimes dare not answer, applying pressure to the weighty concepts of hope, purpose, power, and compassion that we think we know best. 

Its subtle nods to recurring motifs throughout the film—such as the struggle between letting oneself be led by fear or love, the peculiar nature of creativity, and our inherent desire for human connection— summarizes beautifully the legacy of Larson and the thoughtfulness of his works. As the song comes to an end and fades into a piano rendition of Happy Birthday, we as viewers are left with a final, pivotal reminder that— in a world where time is both fickle and precious— our actions truly speak louder than words.