We take a look at what is being said about the musical revue featuring unearthed songs from the composer of Rent and tick, tick…Boom!.
WhatsOnStage: “As it is, The Jonathan Larson Project is a must for fans of his work – both fascinating and slightly melancholy. For those who know less of his life, a little more detail about some of the numbers would have helped but there is no doubt by the close about the talent that was lost, a vital link in the chain of musical theatre.”
Box Office Radio.co.uk: “The evening reminds us that an artist’s legacy isn’t only built from masterpieces but from experiments, risks and half finished dreams.”
The Guardian: “When the world is falling apart, playing the piano can “save my soul”, writes a 23-year-old Larson. Not only does he get away with such a sentiment but there’s an equivalent effect from hearing the night’s best songs. A revelation.”
The Reviews Hub: “With a lovely catch in his voice, Michael Mather brings some much-needed emotion to proceedings in Valentine’s Day while Natalie Kassanga stands out in her solo piece towards the end. Max Harwood has the most musical theatre voice of the bunch but sometimes struggles to be heard over the music and can’t always reach Larson’s wide range of notes.”
Theatre & Tonic: “The score, consisting of music and lyrics by Jonathan Larson, is nothing short of perfection. For music written over 30 years ago, it feels incredibly modern and relevant. From upbeat, catchy opening numbers like “Greene Street” to pop songs like “Out of My Dreams”, slow ballads such as “Love Heals”, and brilliant comedy relief from “Hosing the Furniture”.”
All That Dazzles: “If you love Rent or tick, tick… BOOM!, you’ll want to get yourself down to Southwark Playhouse to see an extension of the talent of Jonathan Larson. Similarly, if you don’t know much about the man or have never heard of him, there is something for everyone in The Jonathan Larson Project. It may be imperfect and have a couple of issues it needs to address, but for the most part that actually adds to its charm, representing the flawed but unashamedly real people that can be found in Larson’s musicals.”
Lou Reviews: “The song choices particularly showcased the vocal power of Mather, Collins and Warren-Green, while Kassanga gave a strong performance of “Love Heals”. Marwood, however, seemed less well matched to some of the material, with the songs not always playing to the strengths of his voice.”
Theatre South East: “Featuring five exceptional performers celebrating Jonathan Larson’s lesser-known work, it is a rewarding evening for musical theatre lovers, particularly those eager to discover the songs that paved the way for one of the genre’s most influential writers.”
London Theatre 1: “Overall, The Jonathan Larson Project is a very enjoyable ninety minutes spent in talented company, showcasing many songs which are well worth hearing and which otherwise we would have missed. Recommended!”
Box Office Radio: “The thing I love the most is the production doesn’t attempt to convince you that every forgotten Larson song is a hidden masterpiece. Some are sketches, some are passionate dead ends and others explode with the melodic urgency that would later define Rent and Tick, Tick.. Boom! The result is a portrait of creativity in motion rather than a greatest hits package, showing you the rough edges and some of the material that got cut from the famous shows we know and love.”
Staged Theatre.co.uk: “For anyone fascinated by Jonathan Larson’s work, the concept is certainly appealing. The opening footage, showing the excitement surrounding Rent as it prepared to open, is arguably the production’s most engaging moment, immediately reminding audiences of Larson’s extraordinary impact on musical theatre.”
Everything Theatre: “As someone who tirelessly strove to manifest his truths and live a life filled with passion and creativity, the sadness that he didn’t bear witness when it all came to fruition, is so poignant. This production pays a fervent and authentic tribute to a man who was an advocate for living passionately and mindfully, choosing connection over fear.”
Musical Theatre Musings: “Where the show lacks is in it’s cohesion. This happens by the very premise of the production and is no ones fault – we’re working with a collection of unrelated songs that were never officially released by a composer still finding his footing before his untimely passing. Despite this moments to breathe, light and shade, would’ve benefitted the show greatly and perhaps assisted by reconsidering the running order.”
London Theatre Reviews.co.uk: “Marcus Collins delivers a truly stunning performance, immediately winning over the audience early on with the bar sing-along number Casual Sex, Pizza, and Beer, a lively standalone song originally written in 1981. Delivering effortless charm and infectious energy, he continues to impress, showcasing both his vocal power and emotional depth, particularly in the deeply moving Iron Mike. A song originally cut from Angels Get Down to Earth Day cabaret from 1990, Iron Mike gives Collins the opportunity to demonstrate his ability to connect with the heart of the piece, delivering a performance filled with warmth and raw emotion.”
A Young(ish) Perspective: “To get the most out of The Jonathan Larson Project, a working knowledge of Larson’s later work is highly recommended. If you walked in cold, treating these as standalone songs by an anonymous writer, you’d likely think the composer had raw potential but hadn’t quite “arrived” yet. But with the context of where Larson’s journey ultimately ended, this show becomes a beautiful, vital piece of preservation. It is a thrilling, bittersweet look at a genius finding his voice.”
The Stage: “Polished showcase of Larson’s work unfolds as an anthology of hope, acceptance and aspiration.”
To book tickets visit: https://southwarkplayhouse.co.uk/productions/the-jonathan-larson-project/