When writer, composer, and lyricist Jonathan Larson died suddenly in 1996, at the age of 35, just a day before the Off-Broadway debut of his acclaimed musical RENT, the struggling young artist wouldn’t be there to see the success it would enjoy, the Tony Awards and Pulitzer Prize it would receive, the impact it would have on the future of Broadway, or his being lauded as the voice of a generation. The world premiere of The Jonathan Larson Project, now playing a limited engagement at the Orpheum Theatre in NYC’s East Village, honors his iconic legacy with selections of never-before-heard songs from his unfinished and unproduced musicals, or cut from his posthumous hits RENT and tick, tick . . . BOOM!, gleaned from the hundreds of cassette tapes, music files, scripts, journals, and boxes of writing he left behind in his apartment.
Conceived and exhaustively researched by Jennifer Ashley Tepper and directed by John Simpkins, the show – which was originally presented as a concert at 54 Below in 2018, then released as an album on Ghostlight Records in 2019 – is more in the format of a musical revue (with music supervision and orchestrations by Charlie Rosen, co-arrangements by Rosen and Natalie Tenenbaum, and music direction by Cynthia Meng) than a traditional book musical with a narrative plot and characters. But the songs are grouped into thematic segments (from autobiographical challenges and longing for success, to partying, sex, and connecting with friends, observant socio-political commentary with an extended skit, and the self-expression and salvation he found in music), the five-person cast of triple threats – Adam Chanler-Berat, Taylor Iman Jones, Lauren Marcus, Andy Mientus, and Jason Tam – brings full-out emotion to the lyrics, and in so doing, empathetically embodies and embraces the perspectives of Larson and the protagonists singing his songs, and Simpkins’ dynamic blocking moves them around the set, has them interacting with each other, changing costumes, dancing to Byron Easley’s well-suited choreography, and enacting the mini-narratives within each number, bringing us into the subjects, thoughts, and feelings addressed in them.
To better understand the numbers, an insert is included in the program giving the date each was written and the show for which it was intended (or in some cases, its status as a stand-alone song), details about its personal and historical context, and which ones were never performed publicly before the present production and its earlier incarnation at 54 Below (which included Marcus and Mientus). Though they were created in the late 20th century and serve as a chronicle of the events, issues, and dreams of his lifetime, and imaginings of the past and future, the selection of songs in the relatable revue, set here and now, still speaks to our current post-modern era and the universal human condition, and is affectingly brought to life by the simpatico cast of stars from the contemporary stage – all professed fans of Larson, who were profoundly inspired by his work – with their across-the-board powerhouse vocals, expressive characterizations, and youthful energy.
Among the highlights are the two opening numbers performed by the full harmonious cast: the upbeat, hopeful, and descriptive “Greene Street,” composed in 1983, when Larson, at the age of 23, had just moved to NYC and was “laughing the day away;” and “One of These Days,” capturing the frustration and determination of an artist dealing with another flop (though the rejection of his musical Superbia, from which this was cut, provided the basis for his later acclaimed tick, tick . . . BOOM!). Marcus turns in a riotously fast-paced interpretation of the satirical “Hosing the Furniture” (Larson’s Sondheim Award-winning entry in the 1989 revue Sitting on the Edge of the Future, about the 1939 World’s Fair), expressing the manic thoughts, distractions, and never-ending pressures of a frantic housewife, who must clean, cook, care for her husband and their kids, and still look pretty enough, in a send-up of old-fashioned domesticity. She and Jones also deliver the sardonic laughs in a spot-on duet taking further aim at the “White Male World” (cut from the 1990 cabaret Angels Get Down to Earth Day) with a hilarious calling-out of the patriarchy. Tam’s heartrending tale of a shipwreck in “Iron Mike” (another cut from Angels Get Down to Earth Day), Chanler-Berat’s laments of not being free in “Rhapsody” (a stand-alone song from 1983), Mientus leading the company in the plaintive “SOS” (written in 1982, for Larson’s first full-length musical – an adaptation of George Orwell’s dystopian novel 1984, which was never granted the rights to be produced), and Jones’ blockbuster lead on “Love Heals” (written in 1992, and dedicated to Larson’s close friends who died of AIDS) affirm their extraordinary skills, as does the closing number “Piano,” with all five paying homage to Larson, his beloved instrument, and the inherent soul-saving power of musical theater.
A smartly conceived and efficient artistic design enhances the songs, with costumes (by Tracy Christensen) and hair and make-up (by J Jared Janus) that are appropriate for then and now (Marcus’s La Bohème tee-shirt is especially clever, referencing Larson’s inspiration for RENT). The set (by Michael Schweikardt), with a movable metal fire escape, bar, table and chairs, and an upright piano, is indicative of his locations in the city, and vertical fabric panels with distorted American flags are symbolic of our rampant political problems. Vibrant lighting (by Adam Honoré and Shannon Clarke) actively changes color and intensity with the moods of the songs and shines a spotlight on the featured performers. And of tantamount significance are the projections (video design by Alex Basco Koch) on a number of upstage screens that show vintage photos and videotapes of Larson, his writings, and images of NYC, and live-feeds of the actors, with clear sound (by Justin Stasiw) that includes audio recordings of Larson speaking, playing the piano, and singing, in this treasure trove of a show.
The Jonathan Larson Project is not only an important documentation of the work of an inspired talent on the cusp of success who was taken from us too soon, but also a supremely entertaining presentation of his previously unknown songs and a showcase for the expert cast performing them. It’s a must-see for RENT-heads and for everyone interested in the potential of what might have been, by an artist whose experiences and insights defined his time and remain relatable and relevant today.
Running Time: Approximately 85 minutes, without intermission.
The Jonathan Larson Project plays through Sunday, March 30, 2025, at the Orpheum Theatre, 126 2nd Avenue, NYC. For tickets (priced at $69-164, including fees), go online.
