Stephen Sondheim’s contribution to the American songbook and to musical theatre as a whole cannot be overstated. He pioneered a style that immediately differentiated him from other composer/lyricists and eventually became the archetypal Broadway musical. Having left behind an enormous catalogue, Sondheim didn’t make it easy for director Sonya Suares to put together an 80-minute tribute show for Hayes Theatre, but she has done it, and it’s good.
Being Alive: The Music of Stephen Sondheim is indeed an homage, but not in the conventional sense. It isn’t a fanfare of Sondheim’s most popular tunes but, rather, an eclectic mix of some familiar and some lesser known songs taken from a cross-section of Sondheim musicals. If you know anything about Sondheim’s philosophy around musical theatre, then you’ll appreciate how much more valid this kind of tribute is.
Early in his career, Sondheim was mentored by none other than Oscar Hammerstein (of Rodgers and Hammerstein), and wrote with some of the most prominent composers and authors of the day. He kicked off his career in earnest by writing lyrics to Leonard Bernstein’s West Side Story (1957), which went on to become a phenomenal hit. Sondheim was famously unhappy with his lyrics for that musical, much preferring his subsequent efforts on Gypsy (1959) with Jule Styne.
Sondheim didn’t really come into his own until he was able to take full control, writing lyrics and music and choosing the book. A Funny Thing Happened on the Way to the Forum (1962) was the theatre world’s first introduction to authentic Sondheim. Bawdy, witty, fast-paced, subversive.
Stylistically, Sondheim’s songs have a naturalistic, recitative, quality. The lyrics are conversational, the music is wrapped around the lyrics.
His second solo offering was Company (1970), with which he proved his range. Company is an incisive, philosophical, sensitively observed look at love, friendship and relationships. It features the song, ‘Being Alive’, which gives this show its title.
Rather than go the clunky path of a contrived jukebox musical, Suares has created a scenario into which the selected songs can be placed organically. The stage is loosely set up as a rehearsal room with minimal props. Musical director, Michael Tyack sits at a baby grand piano on the left. Over on the right, Lillian Hearne on clarinet and Amanda Jenkins on double bass sit on chairs. The four singers, Blazey Best, Lincoln Elliott, Kala Gare and Raphael Wong, saunter in separately, dressed casually and chatting freely to each other and the audience.
This visual lack of formality belies the tight, choreographed, expert performance by singers and musicians that ensues. Best, Gare, Elliott and Wong have vastly different voices yet they mange to harmonised brilliantly when singing together.
The foursome sing as a group, in various combinations and each have their own breakout moments. Wong exercises operatic force with ‘Colour and Light’ from Sunday in the Park with George. Elliott and Gare have solo parts in many group numbers. Best gets some of the more poignant moments with ‘Sooner or Later’ (Dick Tracy) and ‘Witch’s Lament’ (Into The Woods). Her rendition of ‘Send in the Clowns’ (A Little Night Music) would be a show-stopper, but for a dubious decision to interject it with ‘Not While I’m Around’ (Sweeney Todd) sung by Lincoln Elliott. The songs clash incongruously.
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‘The Gun Song’ (Assassins), ‘Agony’ (Into The Woods), ‘Ballad of Guiteau’ (Assassins) and ‘Someone In A Tree’ (Pacific Overtures) are all great ensemble numbers.
This is a show for lovers of Stephen Sondheim and lovers of musical theatre.
Being Alive: The Music of Stephen Sondheim
Hayes Theatre
Director: Sonya Suares
Musical Supervisor and Arranger: Luke Byrne
Musical Director: Michael Tyack
Choreographer: Amy Zhang
Performers: Blazey Best, Lincoln Elliott, Kala Gare, Raphael Wong
Musicians: Michael Tyack, Amanda Jenkins, Lillian Hearne
Being Alive: The Music of Stephen Sondheim will be performed until 12 July 2025.
