BWW Reviews: SONDHEIM ON SONDHEIM is an intimate evening with Creator and his creations

Squabbalogic's production of SONDHEIM ON SONDHEIM helps to answer the question that the NEW YORK magazine posed in 1994, "Is Stephen Sondheim God?". The revue of Sondheim's work, originally conceived and directed in 2010 by James Lapine, who has had a long connection with the composer, takes the audience on a journey through Sondheim's life, his creations, and creative process, all narrated by Sondheim himself by way of video recordings and archive footage projected onto a large screen above the stage.

The 8 person cast under the direction of Jay James-Moody, with the assistance of the 9 piece band led by Hayden Barltrop, support the story that Sondheim tells with interpretations of his music on a simple stage framed with walls of sheet music and dressed with 8 black stools. Utilising simple costumes and projections, the songs that tie into the biography are delivered, often in the context of their original staging. For some, like BY GEORGE's I'll Meet You at the Donut only a phrase is used and for others such as A LITTLE NIGHT MUSIC's Send in the Clowns that have become standards for main stream music and cabaret performers, the music is delivered in full and and distanced from the original character.

Sondheim's story starts at his childhood, including his friendship and mentoring from Oscar Hammerstein II and weaves its way through his work including television, movie and stage musicals, including some work such as Multitudes of Amys and Happily Ever After that has been cut from the final productions of shows, (in this case COMPANY). As part of this, he rounded out a triptych with the final working, Being Alive, highlighting his creative process. Along with the history of his creations, Sondheim also gives glimpses into his personal life, both through the setting of the video narration as he moves through different rooms in his home to the content which includes his relationship with his mother, his mentors and collaborators, and his coming to understand his sexuality. He also lightens the mood with little snippets of his creative process including the use of shot glasses of alcohol, soft pencils and specific paper. The number God, he wrote specifically for SONDHEIM ON SONDHEIM further plays on his ability to make fun of himself.

The ensemble has been selected to allow for a variety of character combinations and types. Louise Kelly takes on a number of the songs for more mature characters including duet version of You Could Drive a Person Crazy (from COMPANY with Phillip Lowe) and In Buddy's Eyes (FOLLIES) with the requisite emotion and connection to the lyrics so the story can be told without knowing the original context of the song. Rob Johnson delivery takes on a level of innocence and naivety which makes the characters portrayed more endearing such as MERRILY WE ROLL ALONG'S Charlie Kringas (Franklin Shepard Inc and Opeing Doors). Monique Sallé is dynamic in her physicality, in keeping with her dual role as performer and choreographer and brings a brightness and energy to the group numbers such as Now You Know (MERRILY WE ROLL ALONG) and Comedy Tonight (A FUNNY THING HAPPENED ON THE WAY TO THE FORUM). Debora Krizak delivers character driven songs such as Ah But Underneath (FOLLIES) and Smile Girls (cut from GYPSY) with a level of sass and presents Send in the Clowns (A LITTLE NIGHT MUSIC) with the understanding and connection many interpretations lack. Dean Vince's strongest piece is Being Alive (COMPANY) where he connects to the music rather than just singing a song. Christy Sullivan's rendition of Do I Hear a Waltz? From the show of the same name, allows a level of whimsy and playfulness. Blake Erickson connects well to the lyrics of Finishing the Hat (SUNDAY IN THE PARK WITH GEORGE) and Phillip Lowe delivers a stirring rendition of Epiphany (SWEENEY TODD).

SONDHEIM ON SONDHEIM is a delightful musical revue of the modern day musical God that is sure to delight those that are well acquainted with Sondheim's work and those that are not so familiar, as so much of his work has been used in other contexts including cabaret, popular music and movies.

SONDHEIM ON SONDHEIM

Squabbalogic Independent Music Theatre

The Reginald Theatre

Seymour Centre

October 1 - October 18 2014

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