The Jonathan Larson Project is a world-premiere musical that celebrates the dozens of unheard songs, unfinished and unproduced musicals, and pop songs found in files and boxes when the visionary writer of RENT died suddenly at the age of 35 in 1996. Conceived by Jennifer Ashley Tepper and directed by John Simpkins, The Jonathan Larson Project features more than 20 undiscovered songs by the Pulitzer and Tony Award-winning writer. The treasure trove of songs includes work from unproduced shows including 1984 and Superbia, songs that were cut from RENT and tick, tick…BOOM!, songs written for theatrical revues and for the radio, and most importantly, songs never publicly performed or recorded before The Jonathan Larson Project. Jonathan’s voice reaches through time to inspire audiences as The Jonathan Larson Project brings to the stage the extraordinary unheard songs of the writer who revolutionized Broadway. From presidential elections to environmental activism to creating and connecting despite every obstacle, Jonathan’s songs speak to our present time with stunning resonance. At the same time, they reflect the journey of an unknown young artist, struggling against rejection, making ends meet as a waiter in a diner, and finding his voice... which he has no idea will someday lead to triumph and enduring fame, tragically after he’s gone. The Jonathan Larson Project is a thrilling undiscovered treasure trove full of theatre history that is also a world-premiere musical filled with songs you will never forget.
But The Jonathan Larson Project, conceived by Jennifer Ashley Tepper, directed by John Simpkins and staged, aptly enough, at the Orpheum Theatre in the East Village, concentrates on adding to that catalog. The 90-minute revue features songs that were cut from both Rent and Tick, Tick … Boom, but is dominated by songs penned either as standalone compositions or for shows unproduced and rediscovered after Larson’s death on various cassette tapes, sheets of paper, music files, journals, yada, yada.
The aim, in focusing on Larson’s offcuts, may be to deepen your understanding of the composer, though Tepper and Simpkins don’t veer far out of the realm of fandom. You’ll find an insert in your program with the names and short histories of the 18 songs that Tepper and Simpkins have assembled into The Jonathan Larson Project. But the show itself goes by without much of a lesson plan from the stage, flowing between songs without introduction or editorializing. I kept peering down in the dark trying to work out the origin of each song as it was performed. That structure maintains some momentum, though it puts the show’s aims in opposition. Are we here to learn more about Larson or simply to laud him? (The latter, mostly.)
2025 | Off-Broadway |
Off-Broadway Premiere Off-Broadway |
Videos