Thirty years after Jonathan Larson's untimely death, The Jonathan Larson Project arrives in London for its UK premiere at Southwark Playhouse Borough. What began in 2019 as an album project to preserve and showcase Jonathan Larson's unpublished and lesser-known songs evolved into a series of concert performances at New York's 54 Below, before becoming a critically acclaimed Off-Broadway production in 2025. Reimagined for London by original Off-Broadway director John Simpkins, this electrifying new musical celebrates the groundbreaking composer behind Rent and tick, tick... BOOM!, highlighting the creative journey that led to his masterpieces while illuminating the artistry, activism, and restless imagination of one of musical theatre's most influential voices.
The European premiere of The Jonathan Larson Project boasts an impressive cast of some of the West End's most exciting young performers, including Max Harwood who gives a fantastic performance from start to finish. Opening the show with Greene Street, a stand-alone theatre song written by Larson in 1983, he immediately draws the audience in with his energy, confidence and genuine warmth. Throughout the show, Harwood brings a youthful enthusiasm to the stage, fully connecting with the audience as though he is sharing each moment directly with the people watching. His performance of Rhapsody, another stand-alone theatre song from 1983, is a particular highlight. A challenging piece that incorporates elements of George Gershwin's Rhapsody in Blue, Harwood delivers it with impressive skill and emotion. He balances the technical demands of the song with a real sense of vulnerability, creating a powerful and memorable moment that captures the heart of Larson's work.
Imelda Warren-Green shines as both a powerhouse vocalist and a gifted comedic performer. She immediately wins over the audience with the impressive belter Bring Out The Booze, a song cut from Larson's unproduced musical Superbia. Warren-Green also showcases her fantastic comic timing in the brilliantly unhinged Hosing The Furniture which won the Stephen Sondheim Award, before delivering a powerful and thought-provoking performance of White Male World from Larson's 1991 cabaret Skirting The Issues, performed alongside Natalie Kassanga.
Natalie Kassanga delivers a beautiful performance, showcasing her powerful vocals throughout. Towards the end of the evening she leads the incredibly moving Love Heals, written in 1992 for Love Heals: The Alison Gertz Foundation for AIDS Education, which was established in memory of Larson's friend Alison Gertz. Larson's close friends Pam Shaw and Gordon Rogers are also honoured in Larson's musical Rent in Life Support, where they are acknowledged by name alongside Alison (Ali).
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.
As Musical Director, Livi Van Warmelo does a fantastic job of ensuring the harmonies are tight and that the vocals blend beautifully throughout the show. Nate Bertone's set design immediately brings to mind the worlds of Rent and tick, tick... BOOM!, with its central piano and industrial-style table creating a simple but effective space that feels very fitting for Jonathan Larson's work. The production also uses projections throughout the show, displaying images, videos, and text introducing each song. However, sitting right at the side means that I am unable to see much of this which is a real shame. With any new musical of unknown music, it is really important that every lyric can be heard clearly so the story and emotions behind the music can come through. Unfortunately, this is one area that feels inconsistent on press night. At times, the balance between the cast and the band doesn't quite feel right, with the music overpowering the vocals in places. Despite being onstage with the performers, the band also sounds surprisingly distant, which takes away slightly from the energy and connection between the musicians and the cast.
Performed by an outstanding cast of West End stars, The Jonathan Larson Project at The Southwark Playhouse Borough is an exciting evening of rediscovery that celebrates the legacy of an artist who has inspired, challenged and moved audiences around the world. For me, the evening carried an added emotional weight. There was something incredibly moving about celebrating the work of a man I never had the chance to meet, yet whose creativity has had such a profound connection to my own musical theatre career. Jonathan Larson's writing has been a constant source of inspiration and to watch his lesser-known work brought to life, felt like a truly special moment. His ability to write about ambition, love, identity and the human need to create and connect still feels as relevant today as it did when he was writing it. The Jonathan Larson Project serves as a beautiful reminder that although an artist may leave us far too soon, their voice can continue to live on through the work they leave behind and the lives they touch.
Natalie Kassanga delivered a beautiful performance, showcasing her powerful vocals throughout. Towards the end of the evening she led the incredibly moving Love Heals, written in 1992 for Love Heals: The Alison Gertz Foundation for AIDS Education, which was established in memory of Larson's friend Alison Gertz. Larson's close friends Pam Shaw and Gordon Rogers are also honoured in Larson's musical Rent in Life Support, where they are acknowledged by name alongside Alison (Ali).
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.
As Musical Director, Livi Van Warmelo did a fantastic job of ensuring the harmonies were tight and that the vocals blended beautifully throughout the show. Nate Bertone's set design immediately brought to mind the worlds of Rent and tick, tick... BOOM!, with its central piano and industrial-style table creating a simple but effective space that felt very fitting for Jonathan Larson's work. The production also used projections throughout the show, displaying images, videos, and text introducing each song. However, sitting right at the side meant that I was unable to see much of this which was a real shame. With any new musical of unknown music, it is really important that every lyric can be heard clearly so the story and emotions behind the music can come through. Unfortunately, this was one area that felt inconsistent on press night. At times, the balance between the cast and the band didn't quite feel right, with the music overpowering the vocals in places. Despite being onstage with the performers, the band also sounded surprisingly distant, which took away slightly from the energy and connection between the musicians and the cast.
Performed by an outstanding cast of West End stars, The Jonathan Larson Project at The Southwark Playhouse Borough is an exciting evening of rediscovery that celebrates the legacy of an artist who has inspired, challenged and moved audiences around the world. For me, the evening carried an added emotional weight. There was something incredibly moving about celebrating the work of a man I never had the chance to meet, yet whose creativity has had such a profound connection to my own musical theatre career. Jonathan Larson's writing has been a constant source of inspiration and to watch his lesser-known work brought to life, felt like a truly special moment. His ability to write about ambition, love, identity and the human need to create and connect still feels as relevant today as it did when he was writing it. The Jonathan Larson Project serves as a beautiful reminder that although an artist may leave us far too soon, their voice can continue to live on through the work they leave behind and the lives they touch.
Review: Stuart James Photos: Danny Kaan