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.
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.
Much like the recent Akira Kurosawa Explains His Movies and Yogurt (with Live & Active Cultures!) at Woolly Mammoth, Emily Burns' Frankenstein, now at The Shakespeare Theatre, clings to the bumper of a more established artist's life and work.
Whereas Akira wrapped itself around one of film's finest auteurs, Burns uses Mary Shelley's gothic classic along with context from Shelley's life to make points, various and sundry. Although there is more substance here than in Akira, hitching a ride with Frankenstein feels equally unnecessary. Because, shed the gothic set and references to a monster, and this play is basically a portrait of a modern marriage.
As Julia Izumi jokes early on in Akira Kurosawa Explains His Movies and Yogurt (With Live and Active Cultures), there can be something a little awkward about a playwright appearing in their own autobiographical play. And she's right: the squirm factor threatens to be dangerously high when a writer stands there within spitting distance, baring their talents, story, and soul.
The truth is, it's the theatrical equivalent of a hostage situation, and the play's got to be oh-so-very-good if it's going to set anyone free.
Unfortunately, the hour and 45 minutes (sans intermission) of Akira comes without any such reprieve. In fact, Izumi's entire approach -- from that first joke onward -- is to basically keep reminding us in one way or another that this is her play, her journey, and that our role is to sit back and admire how cute and meaningful it all is. For her. Asking for the occasional show of hands to check if anyone in the audience feels the way she does (an identity-conflicted perfectionist), in no way changes the fact that this is "The Izumi Show."
Returning to the scene of an uproarious crime, Everyman Theatre revives Charles Ludlam's cross-dressing farce The Mystery of Irma Vep: A Penny Dreadful, with several key players from the company's hit 2009 production back in all their glory.
First, Ludlam's spoof of Victorian manor mysteries and melodramas absolutely holds up as a well-built laugh machine powered by an indomitable cast of two. Created in the midst of the AIDS crisis expressly to provide levity at a time of despair and uncertainty, The Mystery of Irma Vep is as apt as ever in providing an outlet for processing the absurdity all around us.
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.