What was wrong with it had to do with the story and how the story was told.

I thought the show was interesting and that what he was trying to do was interesting. He worked on “Superbia” for a long time while I knew him, which I think was right after the first draft. I meet a lot of young composers: if they write a letter and the work interests me at all, I will always meet with them. My guess is he wrote me a letter and asked to meet. STEPHEN SONDHEIM I met him at a show called “Superbia.” I don’t remember what brought us together. Here is the entire interview with Sondheim, portions of which appeared in the book “Rent”: The revered and influential composer-lyricist died Nov. Related Post Review: Corky Siegel’s blues knocks down musical boundaries In “Tick, Tick … Boom!,” Miranda pays tribute to the two theater greats who inspired him to make “In the Heights” and “Hamilton.” As the first writer to go through Larson’s papers after his death, part of my research for the “Rent” book I wrote with Katherine Silberger, I was moved to tears to see his complexity and compassion so creatively honored.

“He wanted to put in everything and the kitchen sink, and he did. “I think it is a work in progress,” he said of “Rent,” the Broadway sensation that won Larson a Pulitzer and a Tony. The depiction is based in fact: The master craftsman of American theater, who died last month at 91, did support Larson’s work, financially and creatively.īut when I interviewed Sondheim in 1996, a few months after Larson’s sudden death, his view was complicated. Stephen Sondheim appears as a kind of oracle in the movie adaptation of the Jonathan Larson rock monologue “Tick, Tick … Boom!” The film, directed by Lin-Manuel Miranda, doubles as an artful tribute to Larson, best known as the creator of “Rent.” Onscreen, lesser minds are eager to dismiss the self-proclaimed “future of American musicals,” but Sondheim salutes the younger man’s talent and potential.

Stephen sondheim jonathan larson