Broadway has come to represent the center of the universe for those who dream in rhyme and song. With all the lavishness and decor one could hope for, Broadway’s various professional theaters have ingrained themselves in the public consciousness as the premier place to enjoy the musicals and works of a community of spectacular artists.
However, Broadway is also expensive; in 2024, it was reported that the average price paid for a Broadway ticket rounded out to about $126. There’s also the issue of Broadway theaters only being in select metropolitan areas, of which a great deal of Americans have no access to. Strict protocols are in place to prevent the recording of shows, and few musicals are granted the luxury of a professionally-filmed performance. In the modern age, musical theater just doesn’t seem accessible for the average person.
Chance Theater, one of California’s many local theaters, seeks to challenge that image. Offering tickets that range from as low as $10 to $60, the artists at Chance are committed to ensuring that anyone can experience live theater without the high fees of Broadway. Located in Anaheim, California, Chance Theater’s strengths reside in the ribbons of creativity that tie together the lives of Orange County residents, weaving their memories with the radiant fabric of drama, song, and life itself.
I had the privilege of witnessing the opening night of their run of Jonathan Larson’s autobiographical “Tick, Tick…Boom!” at the Chance Theater. As I entered the front door, I was greeted by a small yet homey lobby complete with a small bar decorated with headshots of the theater’s local resident artists. The room was small but jovial and filled with friendly guests and staff who were quick to spark up conversation with anyone in the room. I managed to strike up friendly conversations with a local theater critic, some of the managerial directors, as well as Sophie Cripe, for whom Chance Theater’s Cripe Stage is named.
As the doors opened and the crowd filled in the seats, there was a feeling of coziness abound. No more than 10 rows faced a weathered wood-tiled Cripe stage in anticipation for the show. The lights faded, and the staff acknowledged several patrons and donors whose contributions keep the Chance Theater everlasting. With that, performer Luc Clopton took to the stage as Jon. As the opening staccato notes of “30/90” began to synchronise with his existential monologue, the theater looked onward toward the days and works of Jonathan “Jon” Larson.
“Tick, Tick…Boom!” is a confession dial for the ages, tracking the composer as he tries to create the great American musical in the week leading up to his 30th birthday, while his relationships with friends and lovers begin to crumble. Originally a one-man monologue performed by Larson himself, it was expanded in 2001 to a three-character chamber piece, which has been the format prevalent in theater performances since, including at the Chance Theater.
The ambitions and sensibilities of “Tick, Tick…Boom!” fall perfectly in line with the quaint nature of Chance’s stage and audience. It’s a show made up of cramped interiors: apartment stairwells, compact living rooms, and stuffy diners. That claustrophobic yet domestic feel is reflected in the set design, which is composed of familiar furniture like kitchen shelves, sofas, and counters. The prop’s simplicity and mundanity allows the trio’s vibrant choreography and voices to take center stage. The advantage of the Cripe Stage comes in its size; its small scale means that the action is never too confusing or busy to track. Simultaneously, the seat layout is designed such that, from all levels and angles, one could see the stage without obtrusion or failing eyesight.
Clopton’s Jon has to be on stage for 90 minutes without intermission — a daunting task, but one that he handles with effortlessness and a healthy dosage of wit. Harnessing an anxious neuroticism that walks the fine line between determination and desperation, Clopton manages to simultaneously capture honesty and selfishness. For those who also share his desire for self-actualization and a self-driven nature, Jon’s failures and successes will resonate deeply. Clopton’s clothes reflect this confusion in life; his flannels are cuffed a little too short, and his jeans are a smidge too tight. His body gets older, but his ambitions — mapped by Clopton’s body language and youthful voice — remain forever young.
Lena Ceja’s Susan and Mario Houle’s Michael are equally as mesmerizing in their renditions as Jon’s closest confidants. Along the way, Ceja and Houle portray the various forces in Jon’s life, from shallow marketing executives and unresponsive talent agents to musical workshop members — all characters who create humor from the interplay of disparate personalities.
There is a fierceness to Ceja’s performance that exudes a mixture of self-assurance and sweetness and serves as a wonderful contrast to Jon’s hazy predicament of down-on-his-luck raggedness. Houle’s steadfast and commanding voice as Michael provides a grounded foil towards Jon’s theatrical inflections, and as Jon’s life begins to fall apart, Houle’s restrained and sad voice soberingly unveils the difference between a man who dreams and a man who lives.
At the core of “Tick, Tick…Boom!” lies a heady question: How does one choose to spend the rest of one’s life? From a creative standpoint, we often choose to shelf the shining parts of our identity in the hopes of ingratiating ourselves with the comforts and mechanics of our sullen yet more “grown-up” and progress-driven world. Thus, for those who do not have the privilege or courage to chase after our dreams of being an artist, it is an honor to watch the talents of those who do blossom in spaces both miniscule and grandiose; it is our duty to continue to be there to witness their art.
Dreams themselves are not solely fulfilled through the lofted nature of stardom. Creativity is nourished through action and actualization — at any scale and at any time — and the best years of our lives are defined by the spaces in between, where we keep the truest parts of ourselves alive and where we are privy to how others choose to live theirs.
It’s true that passion can be expensive to pursue, but it doesn’t have to be expensive to witness. Affordability in a world of rising inflation is increasingly rare, but with local theaters like Chance, being cheap does not have to correlate with a lack of quality. Clopton, Ceja, and Houle harmonize as a synergistic trio that’s as deeply reflective and soulful as any actor could hope to pull off. What lacks in grandeur is superseded with soulfulness and intimacy and is no less alive than anything on Broadway.
At every Chance Theater performance, there is sure to be a wide spectrum of folks — whether they’re on a date, out on the town with their family, or maybe at a company hangout. They will come away from “Tick, Tick…Boom!” remembering Houle’s electrifying presence in “No More” or Ceja’s beautiful rendition of “Come to your Senses” more vividly than the workload of the week — I know I did. And some may even fall in love with musicals for the rest of their life.
Despite the tribulations of our daily lives and the economic and political malaises that try to wear us down, we must experience joy and continue to love the things that bring us happiness because that is how we survive through the days. In the Chance Theater, that exuberance and passion crowds every crevice of its loving community. May it continue to do so for years to come.
“Tick, Tick…Boom!” is currently running at the Chance Theater until Feb. 23.
