Julie Larson describes The Jonathan Larson Project as “an intimate portrait of an artist who was truly ahead of his time”, and that’s exactly what this revue sets out to be. Rather than telling a story, it offers a ninety-minute collection of previously unheard songs, giving audiences the chance to explore another side of the composer behind Rent and tick, tick… BOOM!.
Review by Richard Lambert
The Jonathan Larson Project is a 90-minute, sung-through collection of Jonathan Larson’s songs, sitting somewhere between a concert and a piece of musical theatre. There’s no real storyline connecting everything together, so it’s more about celebrating Larson’s music than telling a narrative, and whether that works for you will probably depend on how much you enjoy his songs.
The biggest strength of the evening is, unsurprisingly, the songs themselves. Even beyond Rent and tick, tick… BOOM!, Larson had a real gift for writing music that’s heartfelt, funny and full of emotion. There are some genuinely beautiful songs here, and the show definitely improves as it goes along. The final half hour contains the strongest material and, by then, everything seems to click into place a little more.
That said, the evening can feel a bit slow getting there. Without dialogue or a story to keep things moving, there are times when the pace drops and the energy dips. I was there on a night that clashed with a FIFA match, so the audience was pretty sparse, which probably didn’t help the atmosphere. It never quite found the buzz that this music really deserves.
The cast all throw themselves into the material, but Larson’s songs are incredibly demanding and not everyone seems completely comfortable with the vocal challenges. There are some lovely individual moments, but overall the performances feel a little uneven. The choreography is used quite sparingly, but whenever it does appear it’s very effective and gives the production a welcome lift. It would have been nice to see a bit more of it.
Musically, though, the show is in good shape. The band sound fantastic throughout. The electronic setup keeps everything tight and well controlled, and the use of programmed percussion blends in seamlessly. It’s a polished sound that really lets Larson’s music shine.
The vocals are where things become a little more problematic. A few members of the cast tend to sing down into their microphones rather than projecting out into the space, making life pretty difficult for the sound operator. You could almost see him fighting a losing battle at times, pushing levels just enough for the vocals to be heard without tipping into feedback, although there were still a few moments where microphones were “ringing”. He spent much of the show wandering around the audience with an iPad making adjustments. Fair play to him for trying to improve things, but dressed in white trainers, shorts, a white T-shirt and a baseball cap, he was hard to ignore and became an unexpected distraction during the performance.
Visually, the lighting is easily the standout element of the production. It adds atmosphere, creates shape and constantly makes the stage look more interesting than the set underneath it. The video design is a bit more hit and miss. Sometimes it complements the songs nicely, but other times it feels a little random and doesn’t really add anything.
The set itself never quite worked for me. It looks like it’s aiming for the rough, urban aesthetic associated with Rent and New York’s East Village, but instead of feeling intentionally gritty it just comes across as unfinished. There are rough edges covered with silver gaffer tape that hasn’t been applied particularly neatly, bits of paint cloth draped around the stage and a general feeling of organised clutter. You can see what they’re going for, but the execution doesn’t quite sell the idea.
Overall, The Jonathan Larson Project is worth seeing for the music alone. Jonathan Larson’s writing is as moving and memorable as ever, and hearing some of his lesser-known songs is a real treat. As a production, though, it never quite catches fire. It has some lovely moments, but it feels more like an enjoyable concert of Larson’s work than a piece of musical theatre that fully comes to life.
Cast
- Max Harwood – Man One
- Michael Mather – Man Two
- Marcus Collins – Man Three
- Imelda Warren-Green – Woman One
- Grace Mouat – Woman Two
Creative Team
- Music & Lyrics: Jonathan Larson
- Conceiver: Jennifer Ashley Tepper
- Director: John Simpkins
- Musical Director: Livi Van Warmelo
- Movement Director: Aaron Renfree
- Set & Costume Designer: Justin Williams
- Lighting Designer: Sam Biondolillo
- Sound Designer: Rob Bettle (Sound Quiet Time)
- Casting Director: Rob Kelly
Producers
- Thomas Hopkins
- SAMS Entertainment
- Julie Larson (presenter/executive producer)
Tickets: Click here
Digital programme: Click here