The Jonathan Larson Project - Southwark Playhouse Borough

The Jonathan Larson Project directed by John Simpkins and now playing at the Southwark Playhouse Borough, is a tribute piece to the work of Jonathan Larson - one of the most globally renowned voices of the musical theatre industry. With a West End revival of ‘Rent’ on the horizon, and, even more importantly, with 2026 marking 30 years since Larson's passing, it is only right that a reimagined version of ‘The Jonathan Larson Project’ arrives in London to celebrate Larson’s legacy following its off-Broadway run.

From the moment the audience enters the auditorium, they are exposed to a somewhat familiar feeling - the industrial, raw, unpolished set reminds us of a major theme of Larson’s work (and life), namely a struggling artist who is seemingly, just like the set, falling apart. With scarce furniture, a ladder and a cloth hung at the back to act as canvas for projections used throughout the show, Nate Bertone’s set together with Sam Biondolillo’s lighting design help create the feeling of the ‘unfinished’. This reflects well the heart-breaking and abrupt halt to Larson’s own unfinished story.

Photography by Danny Kaan

‘The Jonathan Larson Project’ relies heavily on 5 actors sharing previously unheard of and, at times, never performed musical numbers authored by Larson himself. From cut ‘Rent’ and ‘Tick, tick… BOOM’ songs and standalone pop tunes to those written in response to significant world events such as the Exxon Valdez oil spill (‘Iron Mike’), the show works best as a song cycle or a movement-infused rock/pop concert. With a lack of clear narrative, space for character development or clarity as to the choice of this particular song order (more upbeat songs at the beginning, with ballads prominent towards the end), unfortunately it is challenging to get fully immersed in the production.

Each song being announced through a projected title, year and one line of context about its origin, somewhat takes away from the story or an attempt of imagining one for oneself. At the same time it is understandable why a choice of projected introductions to the songs was made, however establishing a story arch would undoubtedly benefit the production and take the audience on a continuous and thought-provoking journey, rather than a fragmented walk in the park.

It is worth mentioning that although Alex Basco Koch’s video design of ‘The Jonathan Larson Project’, adds to the production in its current format, helping set the scene and establish time and space, it may be somewhat redundant if the show were to receive some improvements to its context and narrative-setting. Larson’s music would itself be strong enough to back the production with the amendments in place. This would also further strengthen the inevitable emotional impact of seeing Jonathan Larson’s home videos at the beginning and the end of the production.

Although still hopeful that it is not the case, this reviewer has to note the potential use of artificial intelligence in the video design, particularly in the song ‘White Male World’ performed brilliantly by Imelda Warren Green and Natalie Kassanga. If it were to be true, the irony of a struggling artist working to ‘make it’ in the industry being ‘replaced’ by a tool that is making it increasingly more difficult for artists to do so, would be palpable.

The show's movement direction by Taylor Walker is largely based on moving furniture, including the piano (almost a character of its own, with a never-completed song ‘Piano’ dedicated entirely to it). Because of the lack of a more clearly defined story, the physicalisation at times seems out of place. The movement sequences work fabulously for upbeat and satirical songs such as ‘The Vision Thing', while taking some of the focus away from the emotion in ‘Out of My Dreams’. However, it is the actors expressionism and skill that pull us back in. With the members of the small cast being present on stage most of the time, the sense of community and togetherness as an ensemble is clearly felt from the opening right from the ‘Greene Street’ and even earlier, from the recorded notes of ‘Seasons of Love' sung by various communities and sparking a sense of nostalgia among audience members. Each character, and therefore each actor are put in the spotlight several times during the show, bringing a variety of perspectives to the production - from heartbreak, confusion and frustration to hope. Standout performances are given by Imelda Warren Greene and Marcus Collins. Imelda entertains the room through the most memorable of the songs such as ‘Break Out the Booze’ and ‘Hosing the Furniture’, while showcasing her versatility as a performer.

Despite a lot of potential to the concept and the intimate nature of the venue, the show never quite establishes its relationship with the audience, making this reviewer quite conflicted as to its role in the production - are the viewers fellow passengers on this ride or silent witnesses? The audience interactions range from joyful and quite expansive in ‘Break Out the Booze’ to not being evident throughout most of the rest of the show until ‘Love Heals’, the powerful conclusion.

Nevertheless, the whole production feels hopeful - ensuring that the legacy of Jonathan Larson continues to live on. It is a shame that this reviewer felt distanced due the sound system causing the vocal performances to seem quite far away and quiet, however this was made up for by the powerhouse performances of the cast which transcended the issues. With the ending of the whole cast looking up to Jonathan Larson's projected image as a way to pay respect resembling that of ‘Sondheim's Old Friends’, which had a run at the Gielgud Theatre in 2024, it felt utmost important to be in the room celebrating and experiencing what Jonathan Larson himself tragically never got to.

Production value: 60%

Personal enjoyment: 60%

Value for money: 60%

Overall Score: 60% - ⭐️⭐️⭐️ (3*)

(AD | gifted in exchange for an honest review)

Show Information

Venue: Southwark Playhouse Borough, London

Playing Until: 22nd August 2026

Run Time: Approximately 85 min

Tickets can be purchased from this link.