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<p class="MsoNormal"><span style="font-family:Palatino"><br></span></p><p class="MsoNormal"><span style="font-family:Palatino"><span style="color:rgb(204,0,0)">*********************************************************************************************************************</span><br>
</span></p><p class="MsoNormal"><span style="font-family:Palatino">Disappointing SONDHEIM ON
SONDHEIM at Hanna Theatre</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">Roy Berko</span></p>
<p class="MsoNormal"><i style><span style="font-size:10.0pt;font-family:Palatino">(Member, American Theatre Critics
Association & Cleveland Critics Circle)</span></i><span style="font-family:Palatino"></span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">In the self-revealing
probe of his life, principles, writing philosophy and revelations about musical
theatre, Stephen Sondheim, in both of his recently published books, <i style>FINISHING THE HAT</i> and <i style>LOOK, I MADE A HAT</i> explains that
“content dictates form,” “less is more,” and that “theater lyrics are not
written to be read but to be sung.”<span style>
</span>He illustrates how a writer’s philosophy, life experiences and beliefs
are revealed in what he writes about and the way in which he expresses his
ideas.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">Stephen Sondheim, with
few exceptions, writes musical dramas.<span style>
</span>He usually takes on serious subjects—the inability to make commitments
(COMPANY), revenge (SWEENEY TODD THE DEMON BARBER OF FLEET STREET), false
illusions (FOLLIES), world issues (PACIFIC OVERTURES), haunted souls (SUNDAY IN
THE PARK WITH GEORGE), misguided motivations (ASSASINS). </span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">What’s surprising about
Sondheim’s approach is that he was a protégé of Oscar Hammerstein II, who was
among the kings of musical theatre.<span style>
</span>His productions often had an undercurrent of comedy, while stressing
homey community centered themes, with a philosophical message.<span style> </span></span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">Early in life, following
the divorce of his parents, and his mother’s realization that she did not want
to be a parent, Stephen was turned over to Hammerstein’s, who were family
friends, for tutelage.<span style>
</span>Hammerstein, according to Sondheim, taught him most of what he knows
about music and musical theatre.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">With this background in
mind, I went to see the co-produced PlayhouseSquare and Great Lakes Theatre,
SONDHEIM ON SONDHEIM THE REVIEW OF A LIFETIME, with great anticipation.<span style> </span>It would make the written words of the
Sondheim books live….make the lyrics soar, make the story vivid by hearing the
great man in his own words.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">In general, what a
disappointment.<span style> </span>Yes, Sondheim was
there.<span style> </span>But, instead of the
chronological development of his books, the ideas jumped around with no
organizational format, sometimes repeating themselves.<span style> </span>The staging lacked the dynamic quality
of Sondheim’s ideas.<span style> </span>The singing
was mediocre.<span style> </span>The vocal blendings
were sometimes off.<span style> </span>The orchestra
often drowned out the words to the songs…words that we must be able to clearly
hear.<span style> </span>The choreography was often flat.<span style> </span>The cast sometimes looked like they
were walking through their numbers with little joy or pizzazz.<span style> </span>They often sang words, not
meanings.<span style> </span>Articulation was
sometimes mushy. <span style> </span>Hopefully I
saw the show on an off night and during the rest of the run some of these
issues don’t rear their ugly heads.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">There were some
highpoints, beyond hearing Sondheim explain himself and his works.<span style> </span>Production numbers such as <i style>A Weekend in the Country</i>, <i style>The Best Things That Ever Happened</i>, and <i style>Losing My Mind</i> were successful.<span style> </span>The humor highlight was a YouTube
compilation of various people, from the famous (Frank Sinatra, Barbra Streisand
and Liz Taylor) to unknowns, doing their renditions of <i style>Send in the Clowns.<span style> </span></i>The
setting, a series of white levels, lent itself well to the free flowing
staging.<span style> </span>A number of gold frames
were effectively used to place visual borders around the action and to create a
screen for the Sondheim video clips.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"><span style> </span></span></p>
<p class="MsoNormal"><span style="font-family:Palatino">But these were balanced
off by the indistinguishable lyrics in <i style>Getting
Married Today</i>, the questionable interpretation of <i style>Happiness</i>, and the less than funny, usually hysterical, <i style>Comedy Tonight</i>.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"><span style> </span></span></p>
<p class="MsoNormal"><span style="font-family:Palatino">How could this be?<span style> </span>Thirteen months was spent putting the
script together and getting permissions to produce the piece.<span style> </span>It incorporated the work of James
Lapine, long time Sondheim collaborator.<span style>
</span>There were all the hours of Sondheim interview tapes.<span style> </span>Over 1200 performers were auditioned in
Cleveland and New York.<span style> </span>Victoria
Bussert, the reigning local queen of directors and a nationally recognized
theatrical wizard staged the show.<span style>
</span>Matthew Webb, an accomplished musical director was on staff.<span style> </span>Gregory Daniels, who has a proven
record as a choreographer, planned the dancing.</span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">As a friend who I spoke
to following the show stated, “I was bored and frustrated with the level of
performances and lack of focus.”<span style>
</span>Whatever the reason for the derailment, it led to a less than standout
evening of theatre.<span style> </span></span></p>
<p class="MsoNormal"><i style><span style="font-size:10.0pt;font-family:Palatino"> </span></i></p>
<p class="MsoNormal"><i style><span style="font-family:Palatino">CAPSULE JUDGEMENT:<span style> </span>SONDHEIM ON SONDHEIM, in its regional premiere, was a major
disappointment. I wanted so much to be involved, to be excited, to gain a
further appreciation of the “amplifications, dogmas, harangues, anecdotes and
miscellany” that makes Sondheim Sondheim.</span></i><span style="font-family:Palatino"></span></p>
<p class="MsoNormal"><span style="font-family:Palatino"> </span></p>
<p class="MsoNormal"><span style="font-family:Palatino">Tickets for SONDHEIM ON
SONDHEIM, which runs through July 8 at the Hanna Theatre, a joint production of
PlayhouseSquare and the Great Lakes Theatre, can be ordered by calling
216-241-6000 or going to <a href="http://www.playhousesquare.org/"><span style="color:windowtext;text-decoration:none">www.playhousesquare.org</span></a>.</span></p><p style="color:rgb(204,0,0)" class="MsoNormal"><span style="font-family:Palatino">******************************************************************************************************************************</span></p>
<p class="MsoNormal"><br><span style="font-family:Palatino"></span></p><p class="MsoNormal"><span style="font-family:Palatino"><br></span></p>
<br>