The Jonathan Larson Project Review: a time capsule for a visionary composer
- Jack Davey
- 5 hours ago
- 3 min read
14 July 2026 I 14:30 I Southwark Playhouse Borough, London
⭐⭐⭐ I PR - Invite
You've heard the music of Rent. You've heard the music of tick, tick... BOOM!. And this summer, The Jonathan Larson Project premieres in London, thirty years since the composer's passing. Having originally debuted off-Broadway, it memorializes the previously unheard songs from Larson's archives.
But what exactly is the show? It can't be categorised into a play, nor a musical. Perhaps closest to a revue/song cycle, as unfinished musicals, cabaret numbers and pop tunes are all stitched together. And although it doesn't rely on linear storytelling, there is a semblance to Larson's early career in New York City, where Nate Bertone's set design grounds the cast of five in a working artist's studio.
One notable aspect is that there isn't a lot of context to the music's origins (besides a title, date and occasional sentence). Before the show, I read a Playbill article on this, which I strongly recommend to help your understanding of the social-political era in which Larson was writing. Highlights from the score include Love Heals, a compassionate and harmony-driven number that honours Alison Gertz, one of his closest friends who died of AIDS in the 90s. Another is White Male World, duetted by Natalie Kassanga and Imelda Warren-Green, which is a surprisingly relevant condemnation of the patriarchy and male responsibility. Talk about ahead of his time!
Being a song-cycle, this production lends itself to a concert approach. However, reimagined for London by director John Simpkins, the staging can be visually stimulating, telling short stories with each song. The best example of this is through Out Of My Dreams, performed by Kassanga. Paired with Sam Biondolillo's lighting design, it begins as a hazy-pink, romantic number. This progresses through to the end of the song, where she is trapped in a makeshift bed, frantically trying to break out from a nightmare. Simpkins proves himself to be understanding of its journey, as with many other moments.
There are visual aspects however that de-value the quality of the production, largely down to video designer Alex Basco Koch's apparent use of generative AI. Some of the projection work is commendable, including old footage of Larson, and ensembles around the world performing Seasons Of Love from Rent. However, when there are renderings of bobble-head American politicians and poor photo-montages, it reduces the written material. The whole intention of the show is celebrating a legendary composer's creativity and ingenuity, so this over-reliance on digital media is of poor judgement.
My favourite performance comes from Imelda Warren-Green in Hosing The Furniture, punctuated by formidable and vibrant comic skill. Originally written for the cabaret Sitting on the Edge of the Future, the song is a housewife's monologue that descends into an OCD-style breakdown (think of Sondheim's Getting Married Today and its exceptional lyrical development). It really is the best of Larson's imagination, boasting hilarity and impeccable musicality.
The three male roles feel closely representative of the different faces to Larson's music. Max Harwood's tone is much softer than the remainder of the cast, which benefits the production with a more delicate vocal timbre. Michael Mather (who excels in Valentine's Day), captures the late composer's unapologetic and self-confident aura. And The X-Factor's Marcus Collins cradles an emotional strength to his solos. Kassanga and Warren-Green do generally outshine the male performers in this revival, with a more lasting impression.
Does The Jonathan Larson Project reach its full potential? Does it alwyas make sense of the material? Not particularly. But there are some exceptional glimpses of talent here. Staged in London's Southwark Playhouse Borough, the venue provides an underground atmosphere, complimented by Taylor Walker's earthy and percussive choreography. It steam-rolls the first half of its 85-minute run time, though begins to drop in pace through the second half with its repetitive structure.
London has never been able to celebrate Larson's unreleased work in such a charming, intimate form. For fans of his writing, especially ahead of Rent's West End revival, this event is one to keep on your radar:
Booking Information & Tickets: https://southwarkplayhouse.co.uk/productions/the-jonathan-larson-project/