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Jonathan Larson died at the age of thirty-five on the eve of the opening of his best-known musical, Rent, a reimagining of La Bohème set in 1980s New York. His earlier autobiographical musical, Tick, Tick... Boom!, was later adapted into a critically acclaimed 2021 film. These two works are the surviving legacy of a career tragically cut short. First presented as a concert series in 2018, The Jonathan Larson Project was conceived and directed by Jennifer Ashley Tepper. The production brings together previously unheard songs, cut material from Larson’s two major musicals, and selections from his unproduced works. After becoming a fully staged off-Broadway musical in March 2025, the show has now arrived in London. It serves as both an homage to Larson’s life and a reflection of the themes that shaped his writing: the struggles of modern urban life, the challenges of artistic ambition, the search for family and friendship, and anxieties about the social and political environment. Because this collection consists largely of songs removed from other shows or pieces that were never fully developed, its quality is inevitably uneven. Some numbers, however, reveal the extraordinary promise that made Larson such a distinctive theatrical voice. “Break Out the Booze” receives a superb performance from Imelda Warren, who combines vocal strength with emotional intensity and magnetic stage presence. The edgy and disturbing “Valentine’s Day” is another highlight, demonstrating Larson’s ability to explore loneliness, vulnerability, and discomfort with honesty and sensitivity. However, the production also has some significant limitations. Although staged on a thrust stage, the direction frequently positions the performers as though they are addressing only the front of the auditorium, leaving those seated on the sides feeling overlooked. The use of projections creates a similar problem, as audience members in the wings are unable to see them clearly. The comedy is also a mixed success. “Casual Sex, Pizza and Beer” works well, benefiting from its sharp timing and energetic delivery, but the attempts at audience participation often feel forced. The humour in “Hosing the Furniture” is less successful, with the number seeming somewhat detached from the surrounding material. The sequence of three socially focused songs, “The Vision Thing,” “Iron Mike,” and “White Male World,” also feels excessive. Of the three, only “Iron Mike” fully succeeds, although its reference to the Exxon Valdez oil spill may be unfamiliar to many contemporary audience members. While the concerns explored in these songs remain relevant, the placement of the three works lessens their overall impact. However, what carries the eveining through its weaker moments is the remarkable commitment of the cast. Full of youthful energy and emotional honesty, the performers capture the mixture of personal uncertainty, political despair, and hope that runs through Larson’s work. They bring urgency and sincerity to songs that often feel like glimpses into the artist's still-developing voice. Given the origins of the songs, it is hardly surprising that The Jonathan Larson Project lacks the dramatic coherence or emotional power of Rent or Tick, Tick... Boom!. Nevertheless, the production offers something almost equally engaging: the portrait of a creative mind searching for its fullest expression. For admirers of Larson’s work, this production provides a moving reminder of the talent and possibilities lost too soon, while offering the audience a fresh insight into the ideas, ambitions, and struggles that shaped one of musical theatre’s most influential figures.
Rated: ★★★★
Reviewed by J.C.
Photo by Danny Kaan
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