Sondheim On Sondheim

Sondheim On Sondheim
Written by Stephen Sondheim and James Lapine. Manilla Street Productions. Directed by Chris Parker. Melbourne Recital Centre. Sat 23rd May, 2015

When you have eight of Australia’s top Musical Theatre performers, including a bona fide legend, words and lyrics by the greatest force in Musical Theatre in the past sixty years, plus a small but beautifully formed orchestra under an exquisitely sensitive Musical Director, it isn’t surprising that the result is pure bliss for any Sondheim fan. It’s also beautifully directed by Chris Parker, in his usual pursuit of excellence in all areas of the production. Oh, and that’s without the starring role, played by Sondheim The Man himself.

The show is driven by Sondheim on video  - adapted from many interviews over the years - on the large screen and roughly fits the “And then I wrote….” format, but in a far more intimate way than we are used to. Sondheim is a great raconteur and genial personality and it was fascinating to hear him discuss his flops as well as his hits. Highlights from him include the many and varied YouTube versions of “Send in The Clowns”; his story of how a forgettable song from Company called “Multitudes of Amys” was reworked into the cynical “Happily Ever After” and eventually became the quintessential Sondheim Love Song “Being Alive”. And noone in the audience will ever forget the Man himself singing “Anyone Can Whistle”, with the beautiful Kellie Dickerson accompanying him live on piano.

But if Sondheim is ultimately the star, then the amazing cast comprises the planets in his orbit. From the moment the company bursts into song…from Company of course…those of us who are Sondheim Acolytes were enchanted. It only took the first 4 bars of “Broadway Baby” for the audience to cheer Nancye Hayes’s entrance. And why wouldn’t we? She truly is a star in every sense of the word and there were flashes of both Elaine Stritch and Angela Lansbury throughout the performance. But mostly she was just our Nancye, a superb performer, and we couldn’t ask for more. She nailed “In Buddy’s Eyes” from Follies – and “Send in the Clowns”. There is a timelessness to real talent, and so I couldn’t help but see flashbacks of her as Charity, leaning her weight on the heel of one shoe. It was a marvellous treat to see her again.

With the wonderful Lucy Maunder – who seems to be able to do anything – plus the talents and sensitivity of the incredible Lisa Marie Parker (who just gets better every time we see her) and Delia Hannah, deliciously sexy and singing her ample bosom off – the female half of the cast is a triumph.

On the male side Martin Crewes is always a force to be reckoned with and he is ably supported by the skills of Anton Berezin and the charming tenor of Blake Bowden. But it’s the senior member of the male cast who literally steals the show – even from under Ms Hayes nose. Michael Cormick is so darned good you just want to watch him all night and I have never heard him sing better – and that’s saying something. Always a little in Warlow’s shadow, despite some magnificent performances, Cormick proved on Saturday night that composers need to write works for leading men “of a certain age” and a certain set of talents. His baritone chest register is huge and full of majesty. He almost overpowered the audience with an amazing stylised version of “Sweeney Todd”, using full voice, and then reduced many of us to tears with the perfect head-notes – along with real emotion – in “Being Alive”. I’ve seen Company with 7 different Bobbies….but I never want to hear anyone but Michael Cormick sing that song again.

With 62 songs from 19 musicals, it’s impossible to name all the highlights – but the vocal work and harmonies throughout were quite remarkable for any production, notwithstanding the limited rehearsals.

Those who don’t “Get” Sondheim (my companion was one) say that he is musically repetitive …”The songs all sound the same.” They don’t, of course, but there is some validity to the complaint. Sondheim has pet phrases and motifs as well as chord progressions that he likes to repeat over and over in different songs….when you see the songs out of context this becomes more apparent. I had never realised that “Losing my Mind” and “Not A Day Goes By” – two stunning love songs – share the same progressions so closely that they overlay beautifully and Lisa Marie Parker and Delia Hannah (despite forgetting the lyrics to bar 9 of the former) gave us a composite which was more than the sum of its parts.

Lyrically – though I am a Larry Hart fan – Sondheim is without peer. He’s clever, witty, intellectual, deep, passionate and emotional….in other words; PERFECT. I don’t know if this Manilla Street production is playing elsewhere but if so, you must overcome any obstacles to see it. Despite a lack of advertising, which saw many seats empty, this is superb musical theatre and a treat for all music lovers.

Coral Drouyn

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