One of Chance Theater’s go-to strengths in presenting overachieving productions comes from poking around the nooks and crannies of the theater canon to engage audiences with off-the-beaten path fare.

This proclivity is in front of us again, with a pleasing production of Jonathan Larson’s slight, but enjoyable semiautobiographical, “Tick, Tick … Boom!”

The one-act, 90-minute piece is the only other produced work from the creator of the massive hit musical “Rent.” That show is fabled with a tragic backstory, Larson dying at 35 from an undiagnosed heart problem the night before “Rent” saw its first off-Broadway preview in 1996.

“Tick, Tick … Boom!” originated as a one-man performance, with Larson at the piano singing its 12 original songs in a self-described “rock monologue.”

The ticking and booming of the title channel the composer’s dread at turning 30 in 1990 without having achieved any successes through his musical theater writing, his time running out (which would sadly prove to be his real-life truth).

After Larson’s death, Pulitzer Prize-winning playwright David Auburn reworked the script into a three-actor musical and, following other edits and trims, it was staged for the first time in New York in 2001.

Since then, the piece has been elevated as an animated paean to an inspiring musical theater songwriting talent cut tragically short.

Most visibly, Lin-Manuel Miranda directed an expansive and overdeveloped version — the true star here was a phalanx of music theater celebrity cameos — in a 2021 film adaptation for Netflix. Last year Neil Patrick Harris directed the premiere of a new, elaborate production — swelling the ensemble up to seven voices — at the Kennedy Center in Washington D.C.

Working at smaller scale in 2023, Chance presented an accomplished “Rent” as its annual summer musical. One highlight with “Tick, Tick… Boom!” is nice casting synchronicity, with two of the principal actors in the Chance “Rent” returning for this show.

But while “Rent” has big impact numbers — most famously, “Seasons of Love” — “Tick, Tick… Boom!” is mildly engaging. It’s primarily a character study of a creative type (Jon) going about his daily rounds as he self-agonizes — humorously — during a period of run-up to a workshop of a rock opera he has written called “Superbia.” (Larson did actually workshop “Superbia,” which was never mounted commercially.)

The show’s songs are capable plot drivers with engaging lyrics reflecting the moods and challenges of the moment. But only one, “Come to Your Senses,” has the standalone kick in its pop yearnings and swelling impact that hints at Larson’s musical talents which shone in “Rent.”

This production’s key achievement — and more than enough reason to go see it — are the three performances.

As Jon, Luc Clopton sports in winning fashion Larson’s gentle flop of hair and a needy, but self-deprecating nature. There’s hopefulness as well angst in his conveyance with nice touches, including him breaking the fourth wall to the front row and excitedly mouthing the magic words “Stephen Sondheim,” the theater god Jon most admires.

(Hmmm… no coincidence the plot driver propelling Sondheim’s “Company” is lead character Bobby obsessively turning 30?)

In “Rent” Lena Ceja was a notable presence as the love interest waif Mimi and here she is Jon’s dance-instructor girlfriend Susan, as well as playing other female presences (she is New Yawk-y tough girl good as Jon’s hard-to-pin-down theater agent).

Ceja has the solo of “Come to Your Senses” and her vocal range and singing expertise do it justice.

Rounding out the ensemble is a Chance newcomer, a winning young shapeshifter named Mario Houle. He principally is Michael, Jon’s childhood bestie and now a contemporary who has given up acting for a high-pressure marketing career (the specter of AIDS, a key theme in “Rent,” surfaces here).

Houle is amusingly energized as he darts about in a variety of guises, especially amusing as he delivers two-thirds of a phone conversation Jon has with his supportive though taxing father and mother.

The 90 minutes tick away nicely enough — it is a well-paced show, though a few less self-attention-getting background “boom” explosions would be the better choice — under first-time Chance director H. Adam Harris. There is also notable, skillful choreography from Niko Montelibano in the up-tempo songs that call for it.

The show’s music comes from off-stage pianist Lex Leigh, who also functions as the music director, providing the arrangements rhythm and other tracking instrumentation as needed.

All in all, if not explosive in impact, this production of “Tick, Tick… Boom!” provides a happy chance to tick a smaller work off one’s live musical theater checklist.