Sondheim musical literate, emotional

“Putting it Together,” a collection of Stephen Sondheim songs, can never evoke the raucous audience enthusiasm of the Coeur d’Alene Summer Theatre’s previous show, “The Full Monty.”

Christian Duhamel, who serves as a kind of singing narrator, slyly alludes to this when he welcomes everyone to “The Full Monty” and then – when corrected – pulls a red thong from his waistband and says, “Well, I guess I won’t be needing that.”

“Putting it Together” is altogether more bittersweet, more sardonic and less of a crowd-pleaser. Yet, artistically, it is an immensely satisfying evening of the most literate, thoughtful and well-composed songs of the modern stage. Think of it as a book of short stories, written by a master of the form.

Here’s a typical Sondheim lyric, from the song “Could I Leave You?”:

“Leave you? How could I leave you?

Sweetheart, I have to confess:

Could I leave you? Yes.

Will I leave you?

(pause) Guess.”

The exceptional Judy Ann Moulton delivers that last word with exactly the right tone of weary spite.

In fact, every member of director Roger Welch’s five-person ensemble delivers these complex songs with impeccable skill and insight. For a Sondheim fan – and yes, I unabashedly confess I am – this production is a godsend. It takes top professional talent to do justice to this difficult show.

“Putting it Together” is supposedly set at a 25th wedding anniversary cocktail party.

The married couple, played by Moulton and Mark Cotter, are jaded and cynical, in a marriage turned mostly sour. Dane Stokinger and Krystle Armstrong play a pair of younger guests, on the verge (maybe) of marriage. Duhamel is the sometimes waiter and sometimes commentator.

Yet this “structure” is unnecessary and mostly ignorable. The best way to approach this show is song by song.

Each song has its own story arc. For instance, there’s “Country House,” in which a jaded couple works through a list of the ways to give their marriage a little spark – buying a country house, traveling abroad, adopting a pet, adopting a child, hiring a shrink – before settling back on the country house.

Moulton, who has the comic instincts of Carol Burnett and a dark, expressive voice, has some of the best numbers: A withering and boozy, “Ladies Who Lunch,” and a hilarious gender turnaround on “Everybody Ought to Have a Maid,” in which she rhapsodizes hilariously on the joys of having her own houseboy. Best of all was her high speed “Getting Married Today” number, in which she frantically tries to send home the guests at her own wedding because, “I’m not well, so I’m not getting married, you’ve been swell, but I’m not getting married.”

Armstrong, in a little black dress, is sultry and seductive in “Sooner or Later” and “More,” both of which were written for the film “Dick Tracy.” Armstrong is an especially fine dancer.

Stokinger, as the younger man conflicted about marriage, delivers an emotional “Live Alone and Like It.” Cotter, a New York cabaret singer, is in complete command as the older, not-too-happily married man. Duhamel makes the most of the patter song “Buddy’s Blues” and is a great physical comedian.

All five voices blend uncommonly well on the many ensemble numbers, especially the closing “Being Alive.”

The ending provides just a hint of optimism after an evening that mostly explores Sondheim’s characteristically pessimistic view of love.

This all takes place over an elegant, abstract set by Michael McGiveney, composed almost entirely of quadrangles.

I’m sure that some people will be less than exhilarated by “Putting it Together.” Sondheim’s view of the world can be gloomy.

However, I can’t help but be exhilarated by the pure artistry on display; Sondheim’s one-of-a-kind ability to turn three-minute show tunes into highly literate explorations of deep, hard emotional truths. Nobody puts it all together better.

“Putting it Together” continues through July 29. Call (800) 4-CDATIX.