The Jonathan Larson Project at Southwark Playhouse Borough Review
This staging marks 30 years since the legendary composer's death
Jonathan Larson was both a legendary artist and a great man, who sadly died far too young at the age of 35, days before the first preview of what would arguably become his most influential masterpiece that defined a generation: RENT. His work's legacy may live on with upcoming revivals in the West End and beyond, but Jennifer Ashley Tepper's concept aims to further that: to glimpse into the fragments of genius (including moments that never came to be) across the titular writer and composer’s impactful career, and in doing so, to give fans of Jonathan Larson - and of musical theatre in general - a gift that they could never have anticipated.
Directed by John Simpkins, the project features 18 previously unheard or unseen songs from the archives, comprising of standalone tracks, pop songs, cut musical numbers, award entries, collaborations and unfinished projects. Whilst essentially an homage to Larson (and essential watching for any fan of his), the show also stands on its own merit of its musical strength. It respects the individual songs and boldly refuses to cram them into a narrative, instead letting the songs sing for themselves. And my, do they soar.
The narrative is loosely linked by but not necessarily consistent on themes, so we, the audience, are kept on our toes on what musical delights may await them next. Admittedly, not every song is of the strongest calibre, whether it be in the song itself or rather the at times abrupt placement in the piece, but it's worth remembering that the songs featured were often meant to be a part of, or cut from a larger piece for various reasons. On the whole, however, riveting performances make their presentation feel glorious.
Nate Bertone's use and adaptation of ‘The Large' in traverse configuration (defined by its permanent weathered brick wall) feels free, spacious and very New York, with a constant buzz of the city in the background. The cosy-looking set lends itself to a multitude of locations for various songs. Albeit tucked away in their own scaffolding towers in either high corner of the set, the onstage presence of the band really sells the young energy of the city. A large piano and cloth remain centre stage, with the latter doubling as a projection surface; Sam Biondolillo's gorgeous lighting (including a flow of warm, overhead lightbulbs) takes each song to emotional heights - blending colour, focus and effects to evoke rain and more. Likewise, Alistair Penman’s gentle traffic soundscape highlights the city jungle of New York and is a nice touch, but there are noticeable differences in sound quality for individual songs.
Alex Basco Koch’s video design serves as a quiet introduction for each song, though often fleeting for slower readers; some moments rely heavily on the projected text, which comes across well. Sophie Williams and Jean Gray's costumes and props respond to setting using old recycled wooden crates, rickety tables for props, and an array of “cool” outfits that anchors the piece firmly in the 90s.
The show gives its quintet of a cast (perhaps familiar of characters from RENT) their own moment to shine, each boasting incredible vocals. Michael Mather’s uniquely moving voice comes through in SOS (written in 1982 for a musical adaption of George Orwell’s 1984) and Valentine's Day (written in 1987, a cut song from RENT), bringing unmissable energy and an easygoing charm to the table.
Imelda Warren-Green nails Hosing The Furniture (penned in 1989 and later recipient Stephen Sondheim Award at a Musical Theatre Festival) with ease, comedic sense and a fast spiral into the insanity as the song becomes more manic; it is Break Out The Booze (penned in 1990 for a musical cabaret) that exposes killer husky vocals in a romantic and dangerous take.
Marcus Collins (having garnered attention from X-Factor and his own music in its own right) immediately stands out by transforming the relatively weaker Casual Sex, Pizza & Beer into an invite into an underground, bohemian, carefree world free of worries. Pure Vida is another standout, as is Iron Mike (written in 1990 for a cabaret and previously never performed) - a bold battle cry against Oil Spills, reminding audiences that not only was Larson an activist, but also an advocate change through music.
How do you measure, measure a cast announcement? 🤩
Natalie Kassanga is a wonderful performer to watch on stage, her Out Of My Dreams (written in 1991 as a standalone, semi-autobiographical pop song) showcasing a captivating facet, almost like watching a pop star deliver the number; while the roof-raising Love Heals (written in 1992 for an AIDS charity event) really solidifies the show's purpose.
Always a joy to see stepping into one memorable role after another, Max Harwood continues his ability to draw audiences in with a rendition of Falling Apart (written in 1987 for another musical titled Prostate Of The Union) that is, simply put, perfect. Harwood brings out the best in the score, giving audiences the closest glimpse at the music as Larson had intended.
The number White Male World in particular takes a drastic tonal shift, while Piano (written in 1983 as a standalone number), draws the show to an emotional close following a montage of Larson's life in photos and videos. My personal favourite is Find The Key, a cut song from Larson’s autobiographical musical that chronicles the challenges of being an artist in the theatre industry. The number depicts the composer's inner world at perhaps his most vulnerable; Collins' powerful vocals meet Harwood's intense emotional quality, tied together by Mather’s gentle voice.
The Jonathan Larson Project is by no means a perfect show - nor does it ever try to be. What opens up instead is a beautiful window into the past, and the future of Jonathan Larson's legacy, giving modern audiences the chance to fall in love with a new collection of work.
★ ★ ★ ★ ☆
The Jonathan Larson Project is at Southwark Playhouse Borough until 22 August. For more information and to book tickets, visit the venue website.
Tickets and Accessibility
🎟️ Access to the production was kindly arranged with expectation of an honest, unbiased review. Views expressed are of the writer’s and do not represent those of the promoters - read our editorial policy here.
Standard tickets are priced from £35, with concessions available for Students, Unwaged, Over 65s and Under 16s at off-peak performances. As per Southwark Playhouse policy, the first Pioneers’ Preview is priced at £10, with all other previews £16.
♾️ Sensory information was not recorded by the writer. General warnings include haze, flashing lights and loud noises.
The Jonathan Larson Project is presented by Thomas Hopkins, SAMS Entertainment and Julie Larson.
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