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.
Let me start with a nitpick: Marty Supreme is not, as commonly reported, Josh Safdie's solo directorial debut. That would be The Pleasure of Being Robbed, a modest, mumblecore-era gem released in 2008, long before Josh and brother Benny became known for directing white-knuckle crime thrillers like Good Time (2017) and Uncut Gems (2019). Made on a shoestring budget with a cast of unknowns, Pleasure followed the misadventures of a young kleptomaniac (Eleonore Hendricks) in Bloomberg-era New York. Few saw it in 2008, but those who did sensed a budding talent.
A show about show people tailor-made for people who love a show, Stephen Sondheim’s Merrily We Roll Along hits a musical theater sweet spot.
Accessible as the tale of three friends in showbiz whose love and hate for each other ebbs and flows over several decades, Merrily, which premiered on Broadway in 1981, also reps an intensely personal take on an artist’s life from musical master Sondheim and book writer George Furth, adapting the Depression-era play by George S. Kaufman and Moss Hart.
The score isn’t as catchy as the score for Company, Sondheim and Furth’s collaboration a decade prior, but the songs and book have bite, particularly pertaining to Franklin Shepard, the uber-successful, not-so-scrupulous movie producer at the center of the plot.
Is willowy Londoner Bella truly going mad, or is her enigmatic husband Jack carrying out a devious plot to convince her she's losing her mind? And if so, to what end? In modern terms, Bella is desperately pondering whether Jack is trying to gaslight her into thinking she's going insane.
The terminology and the plot of Johnna Wright and Patty Jamieson's Deceived, now at Everyman Theatre, derive from Patrick Hamilton's Victorian thriller Gas Light, which premiered in 1938, before being adapted into the Oscar-winning 1944 film Gaslight, starring Ingrid Bergman as distressed newlywed Paula.
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