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Speedtest 4. Tick, Tick Jon is worried he has made the wrong career choice to be part of the performing arts.
The story is 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 s.
Larson began to perform the piece as a solo work in After his death in , it was revised and revamped by playwright David Auburn as a three-actor piece and was premiered Off-Broadway in Since then, the show has had an Off-West End production, a West End production, an American national tour, two Off-Broadway revivals in and , and numerous local and international productions.
Larson revised the developing piece following Second Stage, changing the title to Tick, Tick The performance attracted the attention of a young producer named Jeffrey Seller , who became a fan of Larson's work.
In , he saw the New York Theatre Workshop production of Larson's musical Rent and convinced his fellow producers to bring it to Broadway.
He restructured the monologue into a three actor musical,  with one actor playing Jon and the other two actors playing Michael and Susan, as well as all the other roles in the show.
Also, the script and score were streamlined and edited. Auburn received credit as "Script Consultant". Over a persistent ticking sound, Jon introduces himself: "The sound you are hearing is not a technical problem.
It is not a musical cue. It is not a joke. It is the sound of one man's mounting anxiety. Michael, a friend of Jon's since childhood, gave up acting to pursue a more lucrative career as a research executive.
Susan, Jon's girlfriend, is a dancer who teaches ballet to "wealthy and untalented children. Susan and Jon discuss the upcoming 30th birthday party that she is throwing for him.
Michael wants to schedule a job interview for Jon with Michael's firm. Again, Jon is hesitant, but agrees to think it over.
The next morning, Jon is awake early. Susan asks him about the possibility of leaving New York. Susan wants to raise a family and does not view that as compatible with Jon's "starving artist" lifestyle.
Jon is torn between following his dream of composing and opting for security and family in a different career. Jon's reverie, however, is cut short; he needs to report to his day job as a waiter in a SoHo diner "Sunday".
Michael exults at the thought of a life of luxury "No More" , and pressures Jon further to consider changing his career path.
Frustrated, Jon finally agrees to accompany Michael to work the next day and visit a brainstorming session at his firm.
Back at home, Jon phones his parents and then his agent. He plans to spend the remainder of the evening composing, but he is interrupted by a call from Susan, who wants to see him.
They argue, albeit in a passive and psychological manner that scarcely seems like an argument at all "Therapy". On Monday morning, Jon walks to Michael's office for his brainstorming session.
On the way, Jon thinks back to a workshop in which his work was reviewed by a composer "so legendary his name may not be uttered aloud He also worries about his musical style and its place on Broadway, but has little time to develop this train of thought before he arrives at Michael's firm.
Jon sees the futility of the process, and his unwillingness to cooperate gets him removed from the meeting. Later, 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".
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.
She informs Jon that she's gotten a job in Northampton, Massachusetts which may be permanent. Although initially the theatre is empty, soon it is filled with very important people: Jon's family and friends, as well as Broadway producers and artists, including Jon's idol, St S Jon is no closer to being a professional composer, and so, in his eyes, the workshop has been a failure.
After the workshop, Jon visits Michael and tells him that he is through with music. For the first time, though, Michael tries to persuade him to stick with it.
Michael says that while he enjoys how he makes a lot more money now than he did as a starving artist, he finds the job itself to be emotionally 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 at this news, Jon leaves quickly. Distressed and alone, Jon wanders through Central Park until he finds himself in the abandoned theater inside Belvedere Castle.
He finds an old rehearsal piano, and begins to play it while collecting his thoughts. Ultimately, he realizes that he will only be happy as a professional composer, no matter what hardships that may bring.
He sees Susan, who is getting ready to leave. She gives him his birthday gift: a thousand sheets of blank manuscript paper.