Old Friends: Bernadette Peters – Photo: Matthew Murphy
Do we never tire of Stephen Sondheim’s music? Not if it is performed with flawless finesse by a troupe of performers who breathe fresh interpretations into the songs that musical theater lovers have heard umpteen times.
Lucky for us, this is the case with the new Broadway revue, Stephen Sondheim’s Old Friends, a two-and-a-half-hour soiree that showcases the late composer.
Director Matthew Bourne was tasked with a near-quixotic challenge to whittle down Sondheim’s body of work into one show. Some will leave the theater not having heard their favorites.
Still, there is more than enough to satisfy even the most ardent acolyte. Even the three shows for which Sondheim contributed only the lyrics: West Side Story, Gypsy, and The Mad Show are represented.
After successful runs on the West End and the West Coast, Tony winners Lea Salonga, Bernadette Peters, and Beth Leavel headline a large cast that knows exactly how to deliver the goods.
Dressed in gowns and tuxedos by Jill Parker, the ensemble brings class and chic to an already elegant affair, accompanied by Annbritt duChateau’s magnificent orchestra, which is prominently on display throughout the production.
Youth is a common and much-desired commodity in entertainment, but there’s something special about seeing a cast of older performers who have a wealth of life experience and numerous credits to their name. It brings an added level of poignancy when Peters sings, “Send in the Clowns.” We actually believe that she’s had her heart broken.
Old Friends: Beth Leavel – Photo: Matthew Murphy
We get the same level of realism with Bonnie Langford’s show-stopping “I’m Still Here.” Leavel, who always has just the right comic timing, puts it to use in both the solo “The Ladies Who Lunch” and in the duet “The Little Things You Do Together,” with Gavin Lee.
Salonga also brings steely grit to “Everything’s Coming Up Roses,” proving that she would be a marvelous Mama Rose in Gypsy. (Producers take note!)
It may have been useful to include some background information on the shows and their scores, but honestly, this is a show by and primarily for theater geeks and Sondheim lovers. For newcomers, it introduces an incomparable, once-in-a-generation maestro.
Stephen Sondheim’s Old Friends (★★★★☆) is playing on Broadway through June 15 at the Samuel J. Friedman Theatre, 261 West 47th St. in New York City. Tickets are $94 to $422. Visit www.manhattantheatreclub.com.
Given how often today's news outlets distort the truth or report outright lies, it's almost comical that E.L. Doctorow's 1975 novel Ragtime was once dismissed by The New Yorker's editor William Shawn. Because Doctorow's tale, set in the early twentieth century, wove real historical figures into fictional lives, Shawn refused to publish a full-length review, calling the book "immoral."
Now, the musical adaptation returns with forceful, spectacular splendor at Lincoln Center's Vivian Beaumont Theatre. And this second revival of the beloved story arrives on Broadway at just the right time.
You've heard of Chekhov's Gun. Now consider "Chekhov's Bees." If a backyard apiary of bees is introduced at the beginning of the movie, the bees will be whipped into a frenzy by the film's end, terrorizing some poor character.
Bugonia, the fiendishly funny new nightmare from Greek filmmaker/provocateur Yorgos Lanthimos (Poor Things, The Lobster), bears out this theory. The bees belong to our troubled hero, Teddy Gatz (a shaggy-bearded, greasy-haired Jesse Plemons), a conspiracy theorist and amateur beekeeper who lives in an old house with his young, neurodivergent cousin, Don (newcomer Aidan Delbis). Teddy spends his days working a menial warehouse job and his nights traveling down YouTube rabbit holes and obsessively developing theories involving Andromedan aliens who intend to destroy humanity.
About halfway through Jay Kelly, Noah Baumbach directs a love scene. I don't mean that there is a sex scene (those rarely appear in Baumbach's cinematic universe, except the mortifyingly awkward kind). I mean that Baumbach himself appears onscreen, in a wink-nod cameo, as a fictitious filmmaker, choreographing an intimate scene between our hero, Jay Kelly (played in flashback by Charlie Rowe), and an actress playing his wife (Eve Hewson), who becomes his real-life paramour, though not real real-life, but -- ah, who's to say what's real anyway?
Baumbach has never been the sort of director to place himself onscreen, but the indulgence fits with a certain metatextual thread in Jay Kelly, a wry Hollywood satire and wistful character study infused with the director's signature familial discord. Here is a film about making sense of your life when, as Jay puts it, "all my memories are movies"; a film about sifting through the thin thread that separates public persona and private identity. How much of your life is real when millions of people know and adore you for playing someone else? And what about the real family you neglected to pursue those celluloid dreams -- is it too late to make amends?
These are challenging times for news organizations. And yet it’s crucial we stay active and provide vital resources and information to both our local readers and the world. So won’t you please take a moment and consider supporting Metro Weekly with a membership? For as little as $5 a month, you can help ensure Metro Weekly magazine and MetroWeekly.com remain free, viable resources as we provide the best, most diverse, culturally-resonant LGBTQ coverage in both the D.C. region and around the world. Memberships come with exclusive perks and discounts, your own personal digital delivery of each week’s magazine (and an archive), access to our Member's Lounge when it launches this fall, and exclusive members-only items like Metro Weekly Membership Mugs and Tote Bags! Check out all our membership levels here and please join us today!
You must be logged in to post a comment.