THE JONATHAN LARSON PROJECT Bids Farewell Off-Broadway

We can’t discuss THE JONATHAN LARSON PROJECT without first shining a spotlight on the late Jonathan Larson. Perhaps best known for penning the ground-breaking RENT, Larson died suddenly at the age of 35 in 1996. His premature passing occurred just as RENT was set to begin previews. In the wake of that tragedy, theatre lovers around the world were left with an unanswerable question: What else might Larson have created had he lived longer?

Over the years, researchers, fans, and close friends have gone hunting for answers among Larson’s unfinished works. And it turns out, there was no shortage of material. From half-developed musicals like 1984 and Superbia to a host of pop songs, Larson had been experimenting with form and style in ways that still feel fresh today. It’s these hidden treasures that THE JONATHAN LARSON PROJECT set out to celebrate.

The Journey from Concert to Full Production

So how did these lesser-known songs finally see the light of day? The project was conceived by Jennifer Ashley Tepper, a noted theatre historian and producer who has spent a good deal of her career championing under-appreciated or forgotten works. Originally presented as a concert at the famed 54 Below in 2018, THE JONATHAN LARSON PROJECT garnered such enthusiastic feedback that it was later released as an album by Ghostlight Records in 2019.

Encouraged by this response, Tepper and her collaborators extended the concept into a full Off-Broadway production directed by John Simpkins. Previews began on 14 February, with the official opening on 10 March. Yet after 27 previews and 24 regular performances, the show is set to close earlier than planned, highlighting once again the difficulties of sustaining a commercial run in the Off-Broadway circuit. As Jennifer Ashley Tepper herself lamented in a heartfelt Facebook post: “It’s no secret that it’s incredibly difficult to hit the numbers needed in order to run a commercial Off-Broadway musical in the current theatrical climate.”

There’s Still Time

If you manage to catch this production before its final bow—or if you plan to track it down in some future incarnation—there are plenty of compelling reasons to do so. First, it offers a chance to peek at the evolution of a composer who radically changed the face of musical theatre in the ’90s. While RENT remains a cultural touchstone (and TICK, TICK…BOOM! continues to gather fans with every new revival or adaptation), THE JONATHAN LARSON PROJECT opens a whole new window on Larson’s artistic process. You’ll hear songs cut from RENT and TICK, TICK…BOOM!, plus compositions never before publicly performed or recorded. It’s like rummaging through the attic of a master craftsman and stumbling upon blueprints, half-built prototypes, and dream sketches.

Next, the ensemble cast is a powerhouse. Starring Adam Chanler-Berat, Taylor Iman Jones, Lauren Marcus, Andy Mientus, and Jason Tam, with Gilbert L. Bailey II and Jessie Hooker-Bailey as standbys, the project brims with raw energy and vocal prowess. Both Lauren Marcus and Andy Mientus have been involved since the original concert rendition at 54 Below, which gives the show a certain throughline from its earliest iteration. Whether belting out edgy rock tunes from the Superbia era or slipping into the gentler ballads Larson composed for radio spots, this team ensures each number feels like a fully realised gem rather than a dusty relic.

An Uncommon Glimpse into Larson’s World

What makes THE JONATHAN LARSON PROJECT so fascinating is its piecemeal quality. Rather than functioning as a linear narrative, it’s more of a curated song cycle. This format reflects the reality of digging through unproduced musicals, incomplete sketches, and pop numbers in various states of revision. One might expect a certain unevenness here—but in many ways, that rawness is exactly where the production finds its warmth and authenticity.

Not all the songs are polished; some still bear the marks of a composer experimenting with tempo or testing lyrical boundaries. Yet that’s the charm. It’s rare indeed to hear a track from 1984 or the mysterious Superbia—musicals that most of us know only through the occasional mention in theatre history footnotes. By placing them side by side with more recognisable pieces that echo RENT or TICK, TICK…BOOM!, the production draws lines between Larson’s older notions and the groundbreaking style he would ultimately bring to fruition.

The Challenges of Running Off-Broadway

Though the show’s closure might come as a disappointment to devotees, it speaks volumes about the volatility of commercial Off-Broadway ventures. In 2019–2020 (just before the pandemic upended the theatre world), the average running cost for many Off-Broadway productions reached a level that demands near-instant buzz and strong ticket sales. Jennifer Ashley Tepper acknowledges this reality, noting that despite the passionate audience responses, making the numbers work in such a specialised market is tough.

It’s not the first time an ambitious Off-Broadway show has had to close sooner than it deserved. Countless productions with smaller marketing budgets and niche appeal face these same headwinds. Yet theatre history reminds us that many gems eventually find a new life—be it through cast recordings, future revivals, or cult followings that demand re-stagings. Given the fervour that surrounds anything connected to Jonathan Larson, it wouldn’t be surprising to see THE JONATHAN LARSON PROJECT pop up elsewhere in the coming years.

Hidden Pop Songs

Something that often surprises even ardent RENT fans is that Larson didn’t just stick to musicals. He also tried his hand at pop songwriting, contributing pieces intended for the radio or for theatrical revues. Imagine discovering an upbeat pop track from a writer best known for weaving gritty rock ballads into searing social commentary. This dimension of Larson’s artistry might not be widely known, but THE JONATHAN LARSON PROJECT lifts the lid on those lesser-explored corners of his catalogue. In some pieces, you hear that trademark rhythmic bounce that made RENT so infectious. In others, there’s a breezy, radio-friendly vibe quite unlike anything else in the Larson canon. It’s as though he was simultaneously living in a world of edgy downtown bohemia and mainstream pop sensibilities—a dance that ultimately helped shape his signature sound.

The Team Behind The Scenes

A production of this scope requires meticulous attention to detail, especially when handling music that was never fully finalised by the composer. Charlie Rosen handled music supervision and orchestrations, with co-arrangements by Rosen and Natalie Tenenbaum. Choreography was helmed by Byron Easley, while Cynthia Meng steered the production’s music direction. The Telsey Office’s Rachel Hoffman oversaw casting, and the entire venture was managed by Evan Bernardin Productions. These behind-the-scenes roles are crucial in maintaining consistency across songs that vary hugely in style, theme, and polish. It’s one thing to produce a single show that has a clear beginning, middle, and end; it’s quite another to stitch together a tapestry of unknown or partially finished tracks and ensure it all holds together cohesively.

The Future of THE JONATHAN LARSON PROJECT

In her statement about the show’s unexpected closure, Jennifer Ashley Tepper made it clear: “The world hasn’t heard the last of THE JONATHAN LARSON PROJECT.” That sense of optimism is contagious. Historically, musicals that fail to achieve the commercial traction they need in one venue often find another way to survive—be it through tours, limited engagements, or recorded mediums. Already, the album from Ghostlight Records has helped preserve these songs. Perhaps we’ll see a fresh staging someday, or maybe an expanded studio recording that unearths yet more of Larson’s hidden repertoire.

For those of us who’ve stood in many a queue to see RENT or have braved the rush for last-minute tickets to TICK, TICK…BOOM!, it’s reassuring to know that the journey of discovering Larson’s artistry hasn’t stalled. There’s more to see, more to sing, more to imagine—despite the harsh realities of commercial theatre.

A Lasting Note

So, as the final curtain falls on THE JONATHAN LARSON PROJECT at the Orpheum Theatre, we can salute the passionate team who dared to venture into uncharted territory. They’ve given voice to songs that might otherwise have gathered dust in a box, never heard by anyone beyond Larson’s closest circle. They’ve reminded us that theatre is about discovery as much as it is about spectacle. And they’ve underlined a key truth: sometimes, the greatest artistic treasures lie in the margins, waiting for someone brave and curious to lift the lid.

If you find yourself drawn to the deeper currents beneath a composer’s famed works—if you relish the thrill of stepping off the beaten path for a glimpse at what might have been—then keep your eyes peeled for the next incarnation of this project. Because one thing is certain: Jonathan Larson’s spirit, and the hunger for what he might still reveal, will never truly be stilled. And who knows? The next time you’re rummaging through a stack of forgotten scores or limited-edition recordings, you might just come across a Larson track you’ve never heard before—a quiet reminder that the man who redefined modern musical theatre is still speaking to us, note by note, lyric by lyric.