THE JONATHAN LARSON PROJECT

Southwark Playhouse Borough

★★★★

“a tender tribute from a world still not over his loss”

After its acclaimed Off-Broadway debut, ‘The Jonathan Larson Project’ arrives in London during the 30th anniversary year of Larson’s untimely death. Offering a rare glimpse into Larson’s early creative process, it celebrates his genius with sharp staging and a knockout cast.

This piece honours Larson’s life and legacy, opening with intimate videos and photos from his personal archive that immediately pull us into his world. From there, we move through songs from his earliest – and sometimes previously unperformed – projects before raising an affectionate final toast.

Shaping this collection of standalone works and offcuts into a cohesive whole is no mean feat, and Jennifer Ashley Tepper’s conception pulls it together with clarity and affection. Larson’s music and lyrics are presented as intended – ‘not a word has been changed’, the freesheet promises. The breadth of material shows off his range – who knew Larson wrote pop songs? – letting us peer deeper into his wickedly witty, politically restless mind. Standouts include ‘Hosing the Furniture’, a musically intricate breakdown earning the Stephen Sondheim Award; ‘Valentine’s Day’, an abusive love vignette featuring in early versions of ‘Rent’; and ‘Love Heals’, a soaring tribute to a friend lost to AIDS. It’s fascinating to see Larson’s early artistic voice, with hints of ‘Superbia’ and ‘Tick, Tick… Boom!’ in places. While you can see why some pieces were ultimately cut, the evening flows with surprising ease.

John Simpkins’ vibrant direction brings the collection to life. The revue like frame – with voiceover intro and contextualising captions – may feel simple, but the pacing is sharp and every number unique. Some songs are stripped back, others burst into full staging. ‘The Vision Thing’ drops us straight into a satirical musical skewering the circus of presidential campaigning. Elsewhere, we channel late 80s/early 90s pop with a slick music video that wouldn’t be out of place on MTV. It’s surprisingly cohesive – a clear testament to Simpkins’ assured direction.

Musical supervisor and director Livi Van Warmelo, with assistant Tom Renwick, captures the songs’ intricate architecture and deep emotion. The arrangements are adapted beautifully and the band – van Warmelo, Renwick, Tom Green, Aidan Platts and Tom Daley – shine with pulse and polish.

Taylor Walker’s choreography channels the late 80s/early 90s, pulling from hip hop, voguing, and contemporary musical theatre, showing a full range of colours in this tight, fast moving evening.

The design is strong overall. Alistair Penman’s mix feels muffled early on, with full band moments swallowing the cast’s resonance and lyrics. But when things pare back, both cast and band shine. Alex Basco Koch’s video design blends personal images with atmospheric visuals of New York skylines, abstract textures, even a tanker crashing on a reef. Captions provide helpful context, even if they flick past a touch too quickly. Nate Bertone’s set channels Rent’s urban industrial grit with scaffolding, ladders, shifting furniture, a roaming piano. The on stage scaffolds are a striking choice, though block the video’s smaller screen. Sam Biondolillo’s lighting is gorgeous – sometimes stripped back, sometimes gloriously maximalist, but never missing a storytelling beat. Jean Gray’s costumes evocatively channel the 1990s with denim, leather jackets and newsboy caps, before shifting into genre specific looks for each number.

The stellar cast delivers across the board, even if the sound occasionally underserves them. Max Harwood, Imelda Warren Green, Michael Mather, Natalie Kassanga and Marcus Collins slip fluidly between 90s artists and Larson’s characters, offering a vivid spectrum of moods and archetypes. Each brings a distinct vocal colour – warm, agile, rich, or electric – that lights up the material. Though it’s hard to name a single standout in a company this strong, each has their own standout moment. Warren Green’s attack and rock belt nearly stops the show; Mather leans into the grunge and emotional grit of ‘Valentine’s Day’; Kassanga adds velvety depth; Harwood brings jaded optimism and lightning-fast runs; and Collins delivers astonishing mix belt power.

‘The Jonathan Larson Project’ feels like a tender tribute from a world still not over his loss. Fans will love this rare, intimate window into Larson’s oeuvre, filling some of the creative space left by his untimely death, while still speaking to anyone interested in artistic evolution.

THE JONATHAN LARSON PROJECT

Southwark Playhouse Borough

Reviewed on 13th July 2026

by Hannah Bothelton

Photography by Danny Kaan

KeyPhrase

★★★★

“bursts with life and complexity”

Olivier nominated ‘Blue Mist’ makes its second UK tour stop after a sold out 2023 Royal Court premiere. It’s a timely, important piece that shifts the conversation around British South Asian Muslim experience, reclaiming and rehumanising the narrative. Already strong, with a few tweaks it could be exceptional.

Disillusioned J has almost given up on his dream of becoming a journalist – until his brothers from other mothers, Rash and Sif, convince him to enter a prestigious competition with a pitch on shisha safe spaces. When he wins, it feels like his big break – until producers insist on a more “honest” narrative. Will J break the cycle or become part of it?

Mohamed-Zain Dada’s script radiates humanity, centring three young Muslim men who love, tease and support each other despite their differences. Their care for their community feels lived in, as do the dialogue and cultural references. It’s also wickedly funny. The surreal streak mostly works, though the Daft Punk heads and Disneyfied vocal detour feel like bigger leaps of logic. However the play’s textured, joyfully complex portrayal of British Muslim life deserves celebration.

Milli Bhatia’s direction draws out the trio’s bond with wholesome clarity. The epitome of brothers-from-other-mothers, their easy warmth creates some deeply human moments – like discussing Rash’s plan for an aunties-only safe space. The contrasting surrealist angle adds contemporary bite, though tonal shifts could sometimes use finessing – the sing-songy ‘A Spoonful of Muslim’ feels like a leap, and though the ceiling closing in is a powerful metaphor, keeping it shut leaves the world harder to read. Similarly, more static scenes could do with clearer contextual cues. Still, it’s a distinctive and compelling directorial voice.

Theophilus O. Bailey’s movement direction really shines, opening with a gorgeous, ballet esque tableau of male grace before shifting into a slick mix of styles. The movement sits naturally within scenes – though some are overly static – and there’s comical contrast through Fiona and Mike, as well as punchy, modern transition sequences.

Tomás Palmer’s design is stunning, with sunken shisha lounge and neon lighting. Different levels create striking visuals – especially the trio rising from the blue mist. The lowered ceiling adds boxing ring tension, though makes other scenes trickier to interpret. Elliot Griggs’ lighting is narrative and artistic, guiding the story with subtle pulses, and heightening the drama with sharper bursts and contrasts. Elena Peña’s sound brims with youthful swagger, though occasionally a little too loudly. The costumes add Western and South Asian flair.

Omar Bynon gives Jihad conflicted weight, played with conviction even if the climactic scene could use a touch more grounding. Azan Ahmed meets the material with striking honesty, delivering an endearing Rashid who’s genuinely trying to change after a teenage mistake. Kashif Ghole’s Asif nails the comedy, while admitting he doesn’t have all the answers and letting us in on his heartbreak. Sanjeev Bhaskar lends his voice as Chunky, full of life and warmth even in absence.

‘Blue Mist’ bursts with life and complexity, sharpened by a refreshingly surreal edge. It’s a sharply drawn portrait of humanity that will resonate widely. Make sure you catch it on tour!

Tag Archives: Review

THE JONATHAN LARSON PROJECT

★★★★

Southwark Playhouse Borough

THE JONATHAN LARSON PROJECT

Southwark Playhouse Borough

★★★★

“a tender tribute from a world still not over his loss”