by Sam Juliano
He is often referred to as the most accomplished living lyricist in the musical theatre. Some consider him much more than that. Many feel his stature is perfectly conveyed in the lyrics of one of his newest songs:
‘You have something to believe in/something to appropriate, emulate, overrate/ Might as well be Stephen, or to use his nickname: God!”
Stephen Sondheim’s 80th birthday sparked a wave of celebrations including a new Broadway revue at the Studio 54 in Manhattan appropriately named Sondheim on Sondheim, which is actually part revue, part video documentary and the glorious talking head complicity of Mr. Sondheim himself, who speaks to the audience on a large moving panel onstage relating amusing anecdotes about the writing process, and imparting a plethora of biographical information that underscores his ascendency in the musical ranks. Conceived and directed by longtime collaborator James Lapine, who worked with Sondheim on Sunday in the Park With George, Into the Woods and Passion, the show presents a non-chronological look at the great composer’s career, making good on Sondheim’s promise to “jump around a bit” and include what mattered most to him (and his public) over the decades.
Unfortunately, there’s a number of mediocre ‘unpublished’ songs offered here, negotiated by a largely average ensemble, with the noted exception of 82 year-old diva Barbara Cook, who, in the second half delivers the show’s most electrifying moment when she sings Sondheim’s best-known song “Send in the Clowns” with a sense of elegiac poignancy. (Ms.Cook received a Tony nomination for Best Featured Actress in a Musical here.) Hence, the show’s musical highlights are the standards from Sondheim’s best loved works, including “Something’s Coming” from West Side Story (where he wrote the lyrics to Leonard Bernstein’s music and Arthur Laurents’ book) “Epiphany” from Sweeney Todd, “Smile, Girls” from Gypsy, “Children Will Listen” from Into the Woods, “Finishing the Hat” from Sunday in the Park With George and a number of others.
The wealth of Sondheim trivia which the composer reels off with an infectious enthusiasm includes the problems they had creating the opening number for A Funny Thing Happened on the Way to the Forum, coming up with the proper ending for Company and the inclusion of a new song in Gypsy, intended to alter the main character a bit, which lasted only for a single performance. The entire eight person ensemble at one point recreate the intricate and disarming octet “Waiting for the Girls Upstairs” (from Follies) to superlative effect.
One of the show’s most dazzling and humorous sequences is a parade of video clips that features many of the most famous and beloved pop stars (Sinatra and Streisand among them) who sing their own covers of Sondheim’s one commercial hit – “Send in the Clowns” – in truncated succession. There’s no doubting the dazzling visual virtuosity on display here with Beowulf Boritt’s ingenious set design, which consists of moving screen panels that are set aglow by lighting designer Ken Billington. Strictly from a standpoint of staging and high tech embellishment the show is top rank, but there’s a problem here is sustaining focus and rhythm, while it strives to flawlessly mesh the musical revue with video documentary. Perhaps this gamble would have worked if the song lineup had stayed with his classic material.
In any case, there is little doubt that Sondheim himself is the star of the show, and his various reflections and remembrences are what hold the audience at bay. At one juncture, the composer speaks of his relationship with musical icon Oscar Hammerstein II, and how he once learned at the older man’s ‘knee’ and became a kind of adopted child to him. The composer steadfastly asserts that the controversial Assassins is the show he is most ‘satisfied’ with, while Sunday in the Park With George is the one he holds closest to his heart. Conversely, he laments spending a year and a half of his life on Do I Hear a Waltz?
To appreciate Sondheim on Sondheim both as a stage revue and as a celebration of an incomparable career in musical theatre, one must comes to terms with the fact that this renowned lyricist was also in possession of melodic gifts that produced songs and shows that no doubt will live on a long way into the future. Even some rightly shelved works can never diminish that.
Note: Lucille and I attended ‘Sondheim on Sondheim’ on Thursday evening, May 20th at 8:00 at the landmark Studio 54 Theatre. The show ran two and one-half hours with one intermission, which was announced by Sondheim himself in a charming video clip, where he mentioned he needed a snack.
I wasn’t aware that Vanessa Williams received a Tony nomination for Sondheim on Sondheim. Have I missed something?
Thanks for the response P. Goyan. You didn’t ‘miss something’ at all. I erred, by listening to a friend, who conveyed the wrong informastion. SONDHEIM ON SONDHEIM only secured nominations for Barbara Cook as Best Featured Actress in a musical and for Dan Moses Schreier for Best Sound Design for a musical.
I will make the corresponding correction now. Thanks again.
Here’s a show that I’m DYING to see. To say Sondheim’s work has touched my life over the course of many years that include my childhood all the way up to my middle age would be an understatement. Recently seein SWEENY TODD, had me salivating for more of his exquisite lyrics and, of course it always reduces one to that inevitable question: what is his best work? Although there are many candidates and there are so many songs/moments that stay in the memory, it behooves me to lie to myself. As much as I try to fight the obvious its always been a losing battle. BEST is still BEST and in this case it will always come down to measuring everything in his extensive canon to WEST SIDE STORY. Even after all these years, the combination of Sondheim’s perfect lyrics and Bernstein’s immortal, titanic score, still burn the fires of a music lovers heart. It is knowing, bold, and all together thrilling. AMERICA, no matter how many times I’ve seen it performed, still sends ripples of excitement through my body…..
Thanks so much for the impassioned reply here Dennis.
(I ran out of room above) ….In conclusion: I NEED to say that not only is this one helluva well written and entertaining review by Schmulee, easily one of his two or three best… It may also be MY personal favorite. This was a pure joy to read. Thanks for this, Sam. -Dennis
As to whether THIS show is a complete success or not (Sam seems on the fence between liking and disliking) matters little. To be in a room where song after song, anecdote after anecdote is brought to fore, its something one would be hard pressed to resist.
Dennis, I definitely liked it, but remember that I am a Sondheim fan. There are some issues here in the overall presentation, but all in all a fine night at the theatre.
Nicely written review, and take back what I said. I did not realize he had written the music to some of the films you mentioned.
Ooops…………
Thanks very much Michael. Yeah, Sondheim’s career is dotted with some melodic goodies, but sometimes he’s seen primarily as a lyricist. While his landmark work on WEST SIDE STORY is still regarded by most as his greatest achievement, a half a dozen other shows are perhaps more emblematic of his singular style. Interestingly enough, his hit A LITTLE NIGHT MUSIC with Angela Lansbury is also currently rurnning on Broadway to considerable acclaim.
Sam, an extremely enjoyable review. Of the few shows of Sonheim’s I have seen (Gypsy, Forum and Sweeny Todd) they have always been magnificent. Glad you and your wife had a great time.
Many thanks John! Yep, the three you mention there are great shows that regularly enjoy revivals. We did indeed enjoy a joyous trip down memory lane.
For some reason I’ve never gone for musical “revues” and this one never caught my attention. But just to hear Barbara Cook sing “Send in the Clowns” is probably worth the price of admission alone. Great picture of the marquee.
Joe: You certainly broach the show’s most beloved component there, and as i stated it’s amazing she can still deliver at her age! The show has some drawbacks, but I can’t say it wasn’t supremely entertaining.
Seeing (and hearing) Sondheim himself is obviously the real treat of this production. I’m saddened to hear that the emphasis was on new stuff not heard previously, as there is enough great Sondheim to fill a show of this length, even with the accent on the newer material. I would have given this a pass, but you have me thinking. I guess for the right price I’d move on it.
I appreciate the stylish review, and hope Barbara Cook wins the Tony.
Frank, tickets can be had in the $30 range through the bargain sites, so the price here is reasonable. I felt the same way you did when I pondered moving on this, but I think for the most part you’d be pleasantly surprised. Thanks as always for the kind words.
I was at Studio 54 several years ago for their revival of “Cabaret”. I trhink they had a Beckett play there before this Sondheim review. I love the composer, so I am sure this would be up my alley. I find it curious that Sondheim feels that “Assassins” is his best work, as it was the one the critics shot down. I enjoyed your honest and eloquent appraisal.
Thanks for the excellent comment Fred. Sondheim always felt ASSASSINS deserved a better fate with the critics, so I’m not surprised he’s over protective of it, but the segment in the show that featured it was very well choreographed and designed.
I also attended that production of CABARET, which I had rather mixed feelings on, and yes, Beckett’s WAITING FOR GODOT with Nathan Lane was there before SONDHEIM, and I thought it solid.
Sam –
I enjoyed your review and envy you for having see this show – I would absolutely LOVE to see this as I am a major huge Sondheim afficianado. Alas, no trips to NYC are in the offing – however, I will be attending an 80th birthday tribute concert at the Ravinia Festival (outside of Chicago) this July featuring Patti LuPone, Audra MacDonald, Michael Cerveris and George Hearn. I can’t wait!!
Pat–
How wonderful to hear from you! I was actually thinking about you earlier this week, and I absolutely was sure that you loved Sondheim! This show is definitely for you, (as is A LITTLE NIGHT MUSIC, currently running) needless to say, but your own tribute concert with Mssrs. LuPone, MacDonald, Cerveris and Hearn is one I’m envious of!!! Ha! I do look forward to your next trip to the Big Apple, and am always thrilled to hear from you.
Terrific review Sam, of a production that no Sondheim fan should miss. There are a few others I want to see before this, but it I can work it in, I’ll see it over the summer.
Thanks for the kind words Maria. You’ll surely be pleased with this. No question.
A dazzling review of a production that I see has received reviews on both ends of the critical spectrum, with some in between. I guess it all comes down to one’s willingness to go with the flow, especially if they are very fond of Sondheim. But for me, I’d love to attend just to hear those asides from the composer on the big screens. Barbara Cook too is a marvelous performer. I can’t believe she is that age.
Peter, it’s a fun show from curtain to curtain, but the selection of songs and the disjointed nature of the the presentation sometimes gets in the way. You do have the right idea though by way of specific expectations! Thanks as always for the intelligent assessment.
My favorite Sondheim is ‘Sweeney Todd.’ There were strongly melodies in that one than in any of his other works. I never considered ‘West Side Story’ his.