Sondheim's Old Friends

A

This stellar revue, a hit in London, has moved into Manhattan Theatre Club’s Samuel J. Friedman Theatre, with Bernadette Peters and Lea Salonga heading a largely new cast of 19 superb performers. Unfortunately, Lea Salonga was out for the performance I attended, but her songs were ably performed by other cast members. To winnow the songs down to 40 must have been a challenging task for deviser/producer Cameron Mackintosh. He opted to include songs from West Side Story and Gypsy, shows for which Sondheim wrote just the lyrics, but it’s hard to fault him for that because they are such great numbers. The organizing principle was not one I could grasp; songs from some shows are scattered through the revue while songs from others, such as Sweeney Todd, are presented in a block. There were very few that were new to me.

Other than the amazing Bernadette Peters (Into the Woods, Sunday in the Park with George), who doesn’t seem to age, the only name I recognized was Beth Leavel (The Prom, The Drowsy Chaperone). Joanna Riding is a two-time Olivier winner for best actress in a musical. The other cast members are Jacob Dickey, Kevin Early, Jasmine Forsberg, Kate Jennings Grant, Bonnie Langford, Gavin Lee, Jason Pennycooke, Jeremy Secomb, Kyle Selig, Maria Wirries, Daniel Yearwood, Paige Faure, Alexa Lopez, Greg Mills and Peter Neureuther.

With so many excellent numbers, it’s hard to pick standouts, but I particularly enjoyed Riding’s “Getting Married Today,” Grant and Peters’ “Children Will Listen,” Secomb’s “The Ballad of Sweeney Todd,” Langford’s“ The Worst Pies in London” and “I’m Still Here” and Leavel’s “The Ladies Who Lunch.” I especially liked some of the ensemble numbers in Act II including “Tonight Quintet,” “Broadway Baby” and “Not a Day Goes By.”
The scenic design by Matt Kinley is simple with lights circling arches and edging stairs. There were two side structures that were rolled in for the numbers from “West Side Story” and “Sweeney Todd” that I assume were deliberately ugly to reflect the grimness of their settings. Large projected images of Sondheim surround the proscenium The costumes by Jill Parker featured lots of sequins, mostly in black with a few in color. The excellent orchestra of 17 sounded louder than its size. The choreography by Stephen Mear was smoothly integrated into the songs. Matthew Bourne, credited with direction and musical staging, held everything together to produce a satisfying whole.

My one complaint is an ongoing one about today’s Broadway musicals – overamplification. The loud decibel warning on my Apple watch went off at least once. Sondheim’s lyrics are such an important part of his appeal that one does not want to have them muddied by poor sound design. Fortunately, the problem was intermittent rather than constant and not enough to spoil the experience. 

If you are a Sondheim fan, two and a half hours of pure pleasure awaits you on 47^th Street.
 

Sweeney Todd: The Demon Barber of Fleet Street

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Of the four productions of this Sondheim/Wheeler masterpiece that I have seen over the years, this was probably the most musically satisfying. The 26-piece orchestra led by Alex Lacamoire (Hamilton) gives the wonderful score its due and the voices, led by Josh Groban’s (Natasha, Pierre & the Great Comet of 1812) velvety baritone, are all a joy to hear. Fears that Groban did not have the gravitas for the role were totally misplaced. His Sweeney is a creditable creation. Annaleigh Ashford (Sunday in the Park with George) finds more humor than menace in the role of Mrs. Lovett. Some of her physical comedy is inspired. Gaten Matarazzo (Dear Evan Hansen) is a top-notch Tobias. Ruthie Ann Miles (The King and I) brings depth to the small but key role of the beggar woman. Maria Bilbao and Jordan Fisher sing the roles of Johanna and Anthony beautifully, but I found their characterization a bit wan. Jamie Jackson, John Rapson and Nicholas Christopher are fine as Judge Turpin, Beadle Bamford and Pirelli respectively. My main disappointment was in the scenic design. Mimi Lien (Natasha, Pierre & the Great Comet of 1812) has an arched bridge crossing the stage that serves as a multitude of locations including Sweeney’s barbershop and Judge Turpin’s home. When Sweeney is at work, the bridge location distances him from the audience. There are no props or even a projection to suggest the judge’s home. The production uses Natasha Katz’s (Some Like It Hot) dramatic lighting rather than images to set the locations and the mood. Emilio Sosa’s (Trouble in Mind) costumes are apt; Mrs. Lovett’s wardrobe reflects her improved circumstances as the story unfolds. The choreography by Steven Hoggett (Harry Potter and the Cursed Child) features tight unsettling groupings. Director Thomas Kail (Hamilton) keeps things moving smoothly most of the time, but there are a few spots where the narrative seemed rushed or muddy. I found my attention wandering occasionally during the long first act. I had been forewarned to expect an intrusively enthusiastic audience, but that turned out not to be the case. The only distraction was the temperature of the theater; there was a cold draft throughout the play that kept me in my coat. Despite that discomfort, it was an afternoon well spent. I can recommend it warmly. Running time: two hours 45 minutes, including intermission.

Follies ***

(Always click on the title to see the complete review!)
It's unlikely that you'll see anything as lavish as the current Broadway production of Sondheim's 1971 classic now at the Marquis anytime soon. With its cast of 41 and a 28-piece orchestra, it is amazing that it could even be offered at normal Broadway prices. Consider it a gift from the Kennedy Center, where this production originated last spring. There is so much here to admire: Sondheim's music and lyrics, Derek McLane's sets, Gregg Barnes' lavish costumes, Natasha Katz's excellent lighting and, most of all, a superb cast led by Danny Burstein, Jan Maxwell, Bernadette Peters and Ron Raines. For the few out there who may not know the plot, it's about the reunion of entertainers from a Ziegfeld-type show 30 years after its closure, before the imminent destruction of the theater for a parking lot. At the center are two regretful ex-showgirls and their husbands, seen both as they are and as they were. The show is also a tribute to a musical world that had vanished, with solos for several of the old entertainers, most notably characters played by Elaine Page, Jayne Houdyshell, Terri White, Mary Beth Peil and Rosalind Elias. Most of act two is an extended fantasy sequence, Loveland, in which each of the four principals gets a show-stopping number in a different genre. Much to admire indeed. And yet..... somehow the whole is less than the sum of its parts. The book by James Goldman (revised here by unnamed hands) never achieves the promise of its concept. The characters, especially their younger versions, seem a bit underwritten. I mostly liked Eric Schaeffer's direction, but I did tire of seeing the spectral showgirls wandering aimlessly along the dark catwalks. Do not let these misgivings keep you away though. It's a rare treat to see so much talent on one stage. The revelation for me was Jan Maxwell, whose acting chops I have long admired, but whose singing and dancing talents were unknown to me. The only problem is that she is so gorgeous and charming that it is impossible to imagine anyone falling out of love with her.

Running time: 2 hours, 40 minutes with intermission.