The Off-Broadway Theatre Review: The Jonathan Larson Project
By Ross
Those first “525,600 minutes, 525,000 moments so dear. 525,600 minutes – how do you measure...” measure the beautiful feeling that overwhelms the soul when we first hear that melody fill the air inside the Orpheum Theatre, downtown New York City. That’s the lead into this heartfelt revue, The Jonathan Larson Project. And there is no denying the power of those words and musical chords played from one of the most iconic rock musicals ever to make it to Broadway. The anticipation of what will come next is as strong as can be. And it’s definitely “worth something“, this song revue that just keeps “push, push, pushing” forward these songs from that clap happy “Green Street“, one of a number of songs that have never been publicly performed or recorded until this show. It’s enough to make you want to cheer this “Rhapsody” of remembrances and “Break Out the Booze” in abundance.
With its history projected with curated care on the panels that hang and shift over the stage, courtesy of scenic designer Michael Schweikardt (59E59’s Gates of Gold), with lighting by Adam Honoré (Broadway’s Purlie Victorious) and Shannon Clarke (Theatre Row’s The Magnificent Seven) and projections by Alex Basco Koch (ATC’s Fireflies), the show draws its structural “Vision Thing” from Larson’s catalog of obscure psuedo B-side songs, pulling them “Out of My Dreams” from musical attempts (like 1985’s Superbia or 1987’s Prostate of the Union) that never really climbed up the ladder of success like his Rent, or even his beautiful precursor, tick, tick,…BOOM. Weaving them together, they try hard to “Find the Key” to make this energetic presentation conceived with care by Jennifer Ashley Tepper (author of “The Untold Stories of Broadway“), sing a “Piano” song in joy like those first familiar phrases of numerical minutes.
And how to measure this musical revue, directed with a certain “Iron Mike” flair by John Simpkins (Ars Nova’s Bloodsong of Love), assisted by the music direction by Cynthia Meng (Broadway’s The Outsiders) and choreography by Byron Easley (Broadway’s Slave Play). The Jonathan Larson Project tries its best to give the late composer Jonathan Larson, who tragically died at age 35, his proper due without “Falling Apart“, crafting the melodies together to give us something more to remember him by than just the two formative musicals that exist in fleshed-out form. It’s almost an impossible task, but somehow it finds its own way to somewhat “One Song Glory” without digging into the catalog of known commodities (like I just did).
The songs, thanks to music supervision, orchestrion, and co-arranger Charlie Rosen (Broadway’s Some Like It Hot) and co-music arranger Natalie Tenenbaum (Broadway’s Mean Girls), are matched with a solid sound design by Justin Stasiw (Broadway’s Lempicka) and sing out gloriously and magnificently forward. The project feeds our soul with “Pura Vida“, taking us on a nostalgic journey into the creative force that is Jonathan Larson, generally winning the approval of all in that small downtown theatre. The performers: Adam Chanler-Berat (CSC’s Assassins), Taylor Iman Jones (MCC’s The Lonely Few), Lauren Marcus (ATC’s The Bedwetter), Andy Mientus (Broadway’s Spring Awakening), and Jason Tam (Broadway’s Be More Chill), costumed with care by Tracy Christensen (Broadway’s Sunset Boulevard), shine bright, doing their vocal best to ride that wave, singing with power and conviction at every turn of phrase. They honor the music with their talent, and for that, we are grateful and uplifted.
There is no need for an “SOS“, as the five cast members are all brilliant singers unpacking the emotional core behind some frolicking rhythms, such as the delicious standalone theatre song, “Casual Sex, Pizza, and Beer” and the loving ballad, “Valentine’s Day,” which appeared in early drafts of Rent, but was ultimately cut. Powerfully sung, these performers work their magic, particularly Jones, with the rapturous “Love Heals,” written by Larson to honor the late AIDS activist Alison Gertz. And Marcus also creates theatrical magic with her rendition of “Hosing the Furniture” from 1989’s Sitting On The Edge of the Future, which is both silly and somehow magical. And very well vocalized.
“The Truth is a Lie,” we are told, right after the jabs at Reaganism and white supremacy that live inside this “White Male World”. Yet, inside The Jonathan Larson Project, there is much musical magnificence to be had. Powerful vocals deliver fascinating songs, giving us as solid a view of Larson as the documentary, 25 Years of RENT –Measured in Love, or the filmed version of tick, tick,…BOOM. It’s impossible to forget the impact Larson had on any of us who were fortunate enough to be in NYC during the time of his Rent, and even though he received posthumous fame for writing the landmark rock musical, the way he and his music hits our heart is what really matters in the long run. And this musical revue honors him beautifully, even though I sat there hoping to have at least one or two more familiar songs sung in an encore by these five glorious singers. They would have done them justice, like they did with all the songs that live and breathe inside The Jonathan Larson Project.
