The satire of the corporate offices where Jonathan spends a day is pretty generic, as are the composer's laments about the complacency of his generation. The story only rarely escapes an aura of familiarity that is alternately soothing and irritating. Poised nervously between a life of bohemian poverty and the possibility of an affluent future in marketing research, Jonathan often brings to mind a younger, hipper variation on the fretful Ed Kleban, the composer recently memorialized on Broadway in ''A Class Act.'' The characters other than Jonathan exist largely to comment on and set off his solipsism. The production, enacted against Anna Louizos's urban collage of a set (which brings to mind posters for ''Rent''), still seems to take place principally in one man's mind. Raúl Esparza (late of ''The Rocky Horror Show'') plays Larson's alter ego, with Amy Spanger as his girlfriend, Susan, and Jerry Dixon as his best friend, Michael, with both doing a quick-take assortment of other roles. David Auburn, the author of the Tony and Pulitzer Prize-winning ''Proof,'' has restructured it as a work for three performers. ''Tick'' was originally conceived as a one-man show. And it allows its sure-voiced young singers and a four-member band to remind us of what an infectiously tuneful composer Larson could be. Compared with ''Rent,'' ''Tick'' inevitably feels small and conventional, suggesting that Larson benefited greatly from stretching his imagination beyond his immediate self.īut perceived as a sort of sketchbook for ''Rent,'' in which the same themes are developed with richer idiosyncrasy and breadth, ''Tick'' has its gentle fascination. What we have instead is an amiable public exercise in the sort of soul-searching sure to befall anyone approaching a milestone birthday haunted by specters of unfulfilled ambitions. Boom!'' (Larson's working title for the musical had been ''30/90.'') It is a self-conscious self-portrait of a composer named Jonathan who longs to write the contemporary answer to ''Hair,'' a musical that will, as he puts it, ''wake up a generation.'' The show that features that anxious lyric has finally been staged, and it opened last night at the Jane Street Theater under the eloquent name of ''Tick, Tick. ''They're singing happy birthday,'' he wrote ''you just want to lay down and cry.'' There are of course the ''525,600 minutes'' hymned in ''Seasons of Love,'' the song from ''Rent'' that asks, ''How do you measure a year?''Īnd there are two round numbers, 30 and 90, that glare ominously in a chamber piece Larson was working on around the time he was beginning ''Rent.'' The year in which the piece is set is 1990, which is the year that Larson was turning 30. The numbers on clocks and calendars figure in his lyrics to the point of obsession. The man who created the rock opera ''Rent'' - and who died at 35, two weeks before that show opened, of an aortic aneurysm - seems to have lived his life and composed his music to the rhythm of some cosmic metronome, noisily decapitating the seconds. Chorus : Gm D If I look at my past, Gm D did I really lie to me? Dm A My fire isn´t gonna last F#m Em it´s not burning for free! Verse 3 : G Cm I won´t stop searching.Time did not pass quietly for Jonathan Larson. C#m F#m All my life been thinking Bm Em how I can play my role! Verse 2 : G Cm I´ve climbed a mountain G Cm in search for inner peace. Chords and Lyrics Einar - The Key To My Soul Artist : Einar Song : The Key To My Soul Intro : G Cm C#m F#m Bm Em Verse 1 : G Cm I have been searching G Cm for the key to my soul.
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