THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
In May of last year Sir Cameron Mackintosh devised a tribute to his old friend and collaborator Stephen Sondheim who had passed away in November 2021. It was one night, it sold out instantly (they relayed it to a second theater), and it was broadcast by the BBC over Christmas. Its success generated a clamor for a longer run, not usual for a gala, but this is what he’s done.
Galas are usually a combination of stars doing their turns or, more interestingly, seeing them attempt (and often relish) taking on the unfamiliar. Sondheim, whose track record in musical theater is unparalleled, provides lots of opportunities for actors to shine and this gem of a show draws so many strands of his work together in perfect unison.
Unlike 1976 however, when Mackintosh had his first hit by taking the review Side by Side by Sondheim into the West End, the great man is no longer a niche taste for London audiences. The selections here span his whole career from West Side Story to Passion and unless you were in a coma you will recognize at least some.
Obviously, for this run the cast had to be a bit less starry, but not much, and the vocal quality of this all-star ensemble is, if anything, better. The main star wattage comes from Broadway legend Bernadette Peters, and from Lea Salonga who many will recall as the original Miss Saigon. Salonga’s combination of exquisite vocal power, comic timing and dramatic heft is magnificent, especially in an extended sequence from Sweeney Todd with Jeremy Secomb. Peters, who defies the years, now brings an undeniable poignancy too to ‘Send in the Clowns’ and also displays some great clowning herself in a range of comic numbers.
The lack of narrative in the review format might scare some off, but it shouldn’t as Matthew Bourne and Stephen Mear’s direction and choreography have a wit and fluency which keeps it brisk and helps to iron over the inevitable lurches in tone from one excerpt to the next. Jill Parker’s simple costumes seamlessly blend a basic black cocktail number with hats or parasols or whatever totemic item is needed to instantly evoke a show. The production values throughout, including a larger than normal orchestra under Alfonso Casado Trigo, all scream luxury.
The show is like a calling card for the best current performers such as Jac Yarrow, Damian Humbley and the golden voiced (and chested!) tenor Bradley Jaden. Jaden’s athletic, priapic, Wolf from Into the Woods sets more hearts a flutter than Ms Peters’, but it works dramatically because if that Wolf was even vaguely seedy that number wouldn’t recover.
A particular joy is watching seasoned performers who have graced West End stages for years wallowing in this great material and just breathing it all in. Janie Dee brings the house down with her lisping, tongue-twister ‘The Boy From’; Clare Burt manages to bring fresh layers of gin-soaked irony and some amazing high notes to ‘Ladies Who Lunch’; Joanna Riding sweeps all before her as the best ‘crazy lady’ ever take on ‘Getting Married Today’; and Jason Pennycooke gets to prove what a total star he’s always been with his lightning speed patter in ‘Buddy’s Blues’. A particular highlight is Bonnie Langford. Yes, she still can do the splits, but her ‘I’m Still Here’ is deeply felt as well as a vocal knockout.
When these unite in the group numbers the effect is simply exhilarating as they all know how to “sell” a number and there is a great generosity and sense of fun at play.
