[NEohioPAL] Review of "Sondheim on Sondheim" by Great Lakes Theatre/PlayhouseSquare

[Bob Abelman]

'Sondheim on Sondheim' is easy to like but not to love

 

Bob Abelman

News-Herald, Chagrin Valley Times, Solon Times,

The Morning Journal, Geauga Times Courier

Member, American Theatre Critics Association 

 

This review will appear in the News-Herald on 5/25/12

 

It is difficult to determine who would love "Sondheim on Sondheim," the musical revue currently running at the Hanna Theatre in PlayhouseSquare.  One thing for certain is that it has something for everyone but not enough for anyone.  

 

Originally conceived and directed by James Lapine, a long-time collaborator with Stephen Sondheim, and performed on Broadway in 2010, "Sondheim on Sondheim" is a journey inside the mind of the legendary composer and lyricist.  His works include "Gypsy," "Company," "Sweeney Todd," "A Funny Thing Happened on the Way to the Forum," "Into The Woods," among others, and musical selections are performed by an eight member ensemble directed by Victoria Bussert, with the accompaniment of a six piece band directed by Matthew Webb.  Songs are intertwined with exclusive interview footage of the typically reclusive Sondheim, whose image is projected on a large screen as he talks about his life and his creative process.

 

For those naïve to the world of musical theater, this American regional premiere is a wonderful introduction to Sondheim and his music, but it is likely to be an uncomfortable evening's entertainment. 

 

Sondheim is a very complicated man who writes very complicated songs.  They consist of enigmatic music and lyrics that, while often void of melody and lacking that "hummable" quality found desirable in show tunes, still manage to induce a range of emotions.  Sondheim touches the soul while challenging the intellect, and not everyone takes pleasure in that kind of musical theater experience.   

 

For those familiar with but not fanatical about Sondheim's work, "Sondheim on Sondheim" may prove to be a beautifully produced exercise in futility.  

 

Approximately 40 songs are performed in this two-act production, most of which are signature Sondheim: dense with words and libretto-like in nature.  More than most song writers, Sondheim's compositions play an integral part in the storytelling rather than merely complementing the storytellers.  Despite the video interjections, not nearly enough context is provided about the plays that house these songs, so Sondheim-simpletons will have difficulty understanding what these complicated, unhummable, dense songs are really saying. 

 

For Sondheim-centric theatergoers who actively seek out his plays (even "Anyone Can Whistle"), who have sat through the lesser Sondheim revues "Putting It Together" and "Side by Side by Sondheim," and who have read Sondheim's recent book "Finishing the Hat" from cover to cover, not much will be learned from this evening of homage.  No new insights into the man, his muses, or his music are revealed for those in the know.

 

However, their knowledge of and appreciation for his work will be rewarded eight-fold, for performers Marie-France Arcilla, Justin Keyes, Pamela Meyers, Destan Owens, James Penca, Ciara Renée, Brian Sutherland, and Emily Walton are wonderful.  Between them, all the major food groups are represented in terms of character-types and vocal ranges, so Sondheim's songbook is covered with ease and expertise.

    

Particularly noteworthy performances include Walton's rendition of the tricky "Getting Married Today" from "Company," James Penca's "Franklin Shepard, Inc." from "Merrily We Roll Along," and Walton, Penca, Keyes and Renée's beautiful four-part harmony in "Something's Coming" from "West Side Story."

 

Penca and Renée are Baldwin-Wallace students and the only locals in an ensemble of talent with New York credits.  In fact, Pamela Myers made her Broadway debut in the original production of Sondheim's "Company."  

 

Thanks to some very lovely and understated choreography by Gregory Daniels and simple scenic design by Jeff Herrmann, the production never ventures into the realm of glorified cabaret.  Thanks to director Bussert as well.

 

Clearly, there is much to like in "Sondheim on Sondheim."  The man is indisputably the most influential song writer to emerge in the last half-century, and this production nicely showcases the reasons why.  But is there enough in this musical revue to love?  No.

 

"Sondheim on Sondheim" continues through July 8 at PlayhouseSquare's Hanna Theatre in downtown Cleveland.  For tickets, which range from $10 to $60, call 216-241-6000 or visit www.playhousesquare.org. 
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