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  Music Division  Jonathan Larson Papers

Jonathan Larson Papers

 Collection
Identifier: ML31.L37

Scope and Content Note

The Jonathan Larson Papers, spanning the years 1978-1996, came to the Library well organized and accompanied by a detailed appraisal and inventory. The papers are organized in four series: Projects, Biographical Materials, Photographs, and Books. The "Projects" series contains materials for musicals, musical revues, club acts, films, and dance works. These files, including digital files, may include any combination of notes, research materials, correspondence, scripts, script pages, lyric sheets and sketches, musical sketches and scores, notes and sketches for designs, production materials, programs and press materials, and other miscellaneous items. The "Projects" series is organized first by title, then chronologically by year, where possible, to reflect Larson's own arrangement. Cross references for variant titles are inserted in the container list.

The materials for RENT, Superbia , and tick, tick...BOOM! are particularly extensive. These materials are loosely arranged in the following order: scripts, music, and other materials. They are further organized in other subsets based on the type of scores and their source. Much of the material for these three shows arrived in envelopes of materials that had been separated, organized and described by Jonathan Larson himself. Original labels have been cut out and placed at the back of each folder as necessary. Many of these envelopes contained wide varieties of materials, and it was often impossible to determine where one item ended and the next began. Pages of items in such folders have been numbered so that the original order is maintained. Certain frequently-requested materials are highlighted with notes in the container list where appropriate.

The "Projects" series also contains miscellaneous song materials. Many of these are songs that came from shows, but were clearly identified as being separate from the individual show materials. In several instances, songs from various sources were combined together for ease of arrangement. At the end of this series are songs by other writers, but with notes and/or annotations by Jonathan Larson.

The "Biographical Materials" series contains an assortment of personal writings and correspondence, class and workshop notes, flyers, and programs. It also includes business papers, bank statements, tax returns, licenses, bills, and receipts. It is arranged alphabetically by general subject matter. A small "Photographs" series showcases portraits of Jonathan Larson and his piano bar trio J. Glitz. The final series, "Books," consists of novels and plays highlighted or annotated by Larson and that have been retained with the collection. Consult with reference staff about books that were returned to the Larson estate.

Dates

  • Creation: 1978-1996

Language of Materials

Collection material in English

Access and Restrictions

The Jonathan Larson Papers are open to research. Researchers are advised to contact the Music Division prior to visiting in order to determine whether the desired materials will be available at that time.

Certain restrictions to use or copying of materials may apply.

Copyright Status

Materials from the Jonathan Larson Papers are governed by the Copyright Law of the United States (Title 17, U.S.C.) and other applicable international copyright laws.

Biographical Note

Biographical Note

1960, Feb. 4
Born, Mt. Vernon, New York (parents are Allan S. Larson, a direct-marketing executive, and Nanette Larson, a homemaker)
1974 - 1978
Attended White Plains High School, White Plains, N.Y.
Played tuba in symphonic and marching band, sung in and accompanied choruses and elite vocal ensemble, and performed in school and community plays and musicals, including Gypsy (Herbie), West Side Story (Riff), Seesaw (David), Pajama Game (Heinze), The Late Christopher Bean , and The Teahouse of the August Moon
1978 June
Graduated from White Plains High School
1978 - 1982
Studied theater at Adelphi University, Long Island, N.Y., on a four-year, full-tuition scholarship
Performed in Godspell (Jesus), Twelfth Night (Malvolio), Rhymers of Eldrich (Skelly), Moonchildren (Lucky), and was music director for several cabarets
Earned Actors Equity card after working summers as performer in summer stock at Barn Theatre, Augusta, Mich.
1979 Fall
Composed first score for El Libro de Buen Amor (libretto and lyrics by Jacques Burdick)
1980 Apr.
Wrote Herstory cabaret with Nicolas Petron
1981 Apr.
Wrote The Steak Tartare Caper with Nicolas Petron
1981 Oct.
Wrote Sacrimmoralinority cabaret with David Armstrong (taped for cable television, Jan. 1982)
1982 Apr.
Wrote American Scream cabaret with Maggie Lally
1982 Summer - Fall
Received BFA, cum laude, Adelphi University, Long Island, N.Y.
Wrote book, music and lyrics for a musical adaptation of George Orwell’s 1984 , and actively pursued getting it produced on Broadway by 1984
Composed three tunes for animated Sesame Street segments
Performed with piano-bar trio J. Glitz
1983 Jan. - Feb.
Saved (formerly known as Sacrimmoralinority ) presented as an Equity showcase at Blitz Theatre, N.Y.
1983 Mar.
Recorded demo of 1984 score
1983 Summer
Performed with singer Trace Robinson at Nantucket restaurants
1983 Summer - Fall
Engaged Donald Farber to help acquire stage rights of 1984
1983
Joined ASCAP
1984 Mar.
J. Glitz performed weekly at Panache
1984 Apr.
J. Glitz performed weekly at Don’t Tell Mama
1984 Spring - Summer
Began writing Mowgli with Seth Goldman
1984 Summer
Played piano bar in Nantucket
1984 Nov.
Wrote Pageantry with David Armstrong for Adelphi University
1984
Made final efforts to get 1984 produced
1985 Feb.
Began writing Superbia
1985 Apr.
Wrote One Big Happy Family cabaret with Michael Lindsay for Adelphi University
1985 Fall - Winter
Joined ASCAP musical theatre workshop and presented songs from Superbia
1985
Pursued production of Mowgli
1986 Apr.
Selected for Dramatists Guild workshop and presented act one of Superbia
1986 Summer
Adapted and composed music underscore for American Tail and Blinkins book-and-cassette episodes
1986 Oct.
Composed underscoring for American Authors plays
1987 Feb.
Wrote Prostate of the Union cabaret with Michael Lindsay for Adelphi University
1987 Mar.
Wrote music for three songs in Bubble Gum , a one-woman show by Alicia Stone
1987 Aug.
Wrote modern dance score for Brenda Daniels’ Garden Party
1987 Oct.
Wrote Emote Control cabaret with Michael Lindsay for Adelphi University
1987 Fall
Stephen Sondheim’s guest for last five weeks of Into the Woods rehearsals
1987 Dec.
Scored Sweet Valley Twins book-and-cassette project
1987
Continued revising Superbia and mounted staged readings at Naked Angels and Public Theatre, in addition to producing private readings and submitting the show to several regional theatres
1988 Jan.
Superbia won Richard Rodgers Development Award
1988 Summer
Scored two Land Before Time book-and-cassette episodes
1988 Fall
Recorded new demo of “Genre in a Drum”
1988
Worked with director R.J. Cutler and producer Ira Weitzman to prepare for Dec. 19th staged readings of Superbia at Playwrights Horizons
1989 Apr. - May
Travelled to Europe
1989 Spring
Scored Venus and Other Myths for Brenda Daniels
1989 June
Met Billy Aronson who conceived a contemporary version of La Bohème
1989 Summer
Participated in American Music Theatre Festival’s Sitting on the Edge of the Future and wrote “Hosing the Furniture”
1989, Sept. 11
Produced, directed and performed in Superbia concert at the Village Gate
1989 Sept.
Awarded Stephen Sondheim Award from the American Music Theatre Festival
1989 Fall
Invited to write for National Lampoon’s Tricentennial Revue
1989 Fall - Winter
Wrote and recorded modern dance score Damage for Brenda Daniels
1989 Dec.
Recorded demo of his and Aronson's first three songs
1989 Winter - 1990 Spring
Wrote one-man show, first called 30/90 and then Boho Days
1990 Sept.
Performed Boho Days at Second Stage
1990 Fall
Composed incidental music for Naked Angels programs
Composed and recorded modern dance score Roam for Bill Douglas
1990
Adapted Superbia as a screenplay
Wrote “Say Da-Da” and other scores for Jann Wenner home movies
1991 May - June
Appeared with Roger Bart in Billy Bishop Goes to War presented by the American Stage Company at Farleigh Dickinson University
1991 Spring - Summer
Rewrote Boho Days as tick, tick...BOOM!
1991 June
Composed incidental music for A Midsummer Night’s Dream at the New Jersey Shakespeare Festival
1991 Nov.
Performed tick, tick...BOOM! at Village Gate
1991 Dec.
Superbia reading at the Public Theatre
1991 Winter
Resumed work on RENT
1991
Worked on screenplay, The Wreck of the Barque Stefano , with Eddie Rosenstein
1992 Winter - Spring
Tried to package songs from tick, tick...BOOM! as a pop album; recorded a demo for Geffen Publishing
1992 Feb.
Completed second draft of The Wreck of the Barque Stefano screenplay
1992 Summer - Winter
Began work with Hal Hackady on Blocks
1992 Sept.
Sent RENT pitch letter to New York Theatre Workshop
1992 Fall
Worked on Sacred Cows project
1992 Winter
Began work on act two of RENT
1992 Dec.
Performed tick, tick...BOOM! at the New York Theatre Workshop
1993 Apr.
Performed tick, tick...BOOM! at the New York Theatre Workshop
1993 June
Staged reading of RENT at the New York Theatre Workshop
1993 Fall
Blocks rehearsed and performed
1993
Worked with Bob Golden on children’s video, Away We Go!
Won Stanley Drama Award and Gilman & Gonzalez-Falla special recognition award
1994 Jan.
Won Richard Rodgers Development Award
1994 Oct.
Studio production of RENT at New York Theatre Workshop
1994
Participated in New York Theatre Workshop summer retreats
Directed and edited Away We Go!
1995 Feb. - Mar.
Blocks performed
1995 Spring - Summer
Composed music for, recorded, and rehearsed J.P. Morgan Saves the Nation for En Garde Arts
1995, Oct. 21
After ten years, quit job as waiter at the Moondance Diner
1995 Fall
Composed score for reading of God’s Heart by Craig Lucas
1995
Wrote sea chantey for White Squall
Worked on packaging of Away We Go! video
1996, Jan. 24
Dress rehearsal for RENT
1996, Jan. 25
Larson died, New York, N.Y. (from an aortic aneurysm caused by Marfan syndrome)
1996, Jan. 26
RENT began previews at the New York Theatre Workshop (opened Feb. 13; closed Mar. 31)
1996, Feb. 3
Memorial for Larson at Minetta Lane Theatre
1996, Apr. 9
Larson awarded Pulitzer Prize for Drama for RENT
1996, Apr. 16
RENT began previews at Broadway’s Nederlander Theatre (opened Apr. 29)
1996 Spring
RENT won Obie, Drama Critics Circle, Drama Desk, Outer Critics Circle, Drama League, Theatre World and other awards
1996, June 2
RENT won Tony Awards for Best Musical, Best Score, Best Book of a Musical, and Best Featured Actor in a Musical
1997 - 2008
The Jonathan Larson Performing Arts Foundation presented annual grants to composers, lyricists, and bookwriters (beginning in 2009 the Jonathan Larson Grants were administered by the American Theatre Wing)
2001, Mar. 23
tick, tick...BOOM! opened off-Broadway at the Jane Street Theater
2002, Jan. 6
tick, tick...BOOM! closed off-Broadway at the Jane Street Theater
2005, Mar. 31 - Aug. 28
tick, tick...BOOM! played at the Menier Chocolate Factory in London’s West End
2005, Nov. 23
RENT, the motion picture, premiered
2008, Sept. 7
RENT closed on Broadway after seventeen years and 5,124 performances—becoming, at the time, the seventh longest-running show in Broadway history

Extent

15,000 items
55 containers
27.5 linear feet

Abstract

Jonathan Larson (1960-1996) was an American composer, lyricist, playwright, and performer who wrote primarily for the musical theater. The collection contains materials relating to his musicals, musical revues, club acts, films, and dance works, in particular Superbia, tick, tick...BOOM!, and RENT, his successful rock musical adaptation of La Bohème. These materials include manuscript and computer-generated music scores and sketches, lyric sheets and sketches, scripts, notes, research materials, correspondence, notes and sketches for designs, production materials, programs, and press materials. In addition, the collection contains personal writings and correspondence, class and workshop notes, business papers, photographs, and books containing Larson's annotations.

Organization of the Jonathan Larson Papers

The collection is arranged in four series:

Provenance

Gift of Jonathan Larson's parents, Allan and Nanette Larson, and his sister, Julie Larson, in 2003. Additional materials were received from Jeff Potter in 2009.

Accruals

No further accruals are expected.

Digital Files

Digital files were received as part of the Jonathan Larson Papers on a variety of storage media. This content is currently unprocessed and not available. Consult reference staff in the Performing Arts Reading Room for more information.

Transfers

Approximately 550 programs have been transferred to the Library of Congress Music Division's Programs and Dance Programs collections, and approximately 650 audio-visual materials have been transferred to the Library of Congress Motion Picture, Broadcasting, and Recorded Sound Division, where they are identified as part of the Jonathan Larson Collection (MAVIS collection no. 12374). An inventory of this material is available in the Music Division's collection file.

Processing History

Processing of the Jonathan Larson papers was completed by Mark Horowitz in 2010 with significant assistance from Elizabeth Titrington Craft. Janet McKinney coded the finding aid for EAD format in 2011.

Title
Guides to Special Collections in the Music Division of the Library of Congress
Author
Processed by the Music Division of the Library of Congress
Date
2010
Language of description
English
Script of description
Latin

Part of the Music Division Repository

Contact:
Performing Arts Reading Room
101 Independence Ave, SE
James Madison Building, LM 113
Washington, DC 20540-4810
(202) 707-5507