‘Sondheim’ a rich night of theater
For a short, simple and utterly convincing primer in the genius of Stephen Sondheim, you can’t do better than “Side by Side by Sondheim.”
This collection of early Sondheim songs, separated only by brief introductions, is an astonishingly rich night of musical invention, lyrical dazzle and wild swings of emotion.
An engaging three-person cast, deftly directed by Interplayers’ new artistic director, Nike Imoru, takes us on a musical ride from antic comedy to devastating heartbreak.
If you already are a Sondheim fan, you don’t need any convincing. You should have your tickets reserved already. If you don’t know what all the fuss is about, go to this show and pay attention to these three elements:
Verbal dexterity: The neurotic bride in “Getting Married Today” speculates at one point that “perhaps I’ll collapse in the apse.”
Musical sophistication: In many songs, such as “Pretty Lady,” all three singers take simultaneous melodic lines, demonstrating Sondheim’s mastery of melody, harmony and complex counterpoint.
Emotional range: The show begins and ends with the sprightly, feel-good “Comedy Tonight.” But it also features “Send in the Clowns,” a song of such melancholy that a listener would feel its bittersweet power even if it lacked lyrics altogether.
These are just a few examples. This show sweeps you through a torrent of highs and lows, from the bawdy fun of the stripper’s trumpet in “You Gotta Have a Gimmick” to the devastating portrayals of marriage in “Could I Leave You” and several other songs.
Imoru does an admirable job of utilizing all of Kate Vander Wende’s clever giant-musical-score-decorated set. We share a sense of intimacy with the singers on Interplayers’ thrust stage, which is perfectly matched to Sondheim’s raw emotional feel. The accompaniment comes from twin pianos on stage, played beautifully by Kerry Cutler and Kendall Feeney, who also did an exceptional job with the musical direction.
The cast is easily up to the considerable challenge of singing these complicated and difficult songs. Will Holm demonstrated an almost Noel Cowardlike quality that worked especially well in the songs that are purposely old-fashioned, such as “Beautiful Girls.” Jazmin Gorsline, a pure soprano and a knockout besides, was delightful all the way through, especially in a medley of songs from “West Side Story” (for which Sondheim wrote only the lyrics).
Yet, as I look back on the show, it seems the majority of the best moments came from Jana Tyrrell. She’s a terrific actress as well as a strong, strong singer, and she single-handedly stopped the show with “I’m Still Here,” “Getting Married Today,” the naughty “I Never Do Anything Twice” and a stunning “Send in the Clowns.”
It’s not often that I can use the word “best” with no qualifications to describe a work. Yet I believe “Side by Side by Sondheim” is the best musical revue in existence just because each of Sondheim’s songs stands up so well on its own. Yet his work also has common themes (the difficulty of marriage being one of them) that create a connecting thread throughout these pieces.
While I can’t say this particular production is the best – nobody may ever beat the original London and Broadway productions – I can say this production does this show justice. And that is high praise.
As Feeney said before the show, Stephen Sondheim is “musical theater for grown-ups.” I urge you to go and find out if you are one.