For those not well-versed in musical theatre (I count among them), the name Sondheim may not ring any bells. I’m only peripherally familiar, being a part of a high school production of Into the Woods (I played Cinderella’s Father, thanks for asking).

Sondheim is a name well-known, however, among show tune aficionados, as the name of Stephen Sondheim and Side by Side by Sondheim is a musical revue of some of the famous Broadway composer’s early-career songs. The title is a play on Side by Side by Side, a Sondheim number. [More]

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The title of this revue-style show is derived from the song Side By Side By Side,from stage musical, Company, by renowned Broadway composer and lyricist Stephen Sondheim (b.1930).  It premiered in 1976 at London’s Mermaid Theatre, and three years later, at the old Circa Theatre here in Wellington.

I first became aware of Sondheim’s very memorable music as a young teenager, after hearing his name mentioned by my aunt Philippa (who happens to be one of the two pianists who played in that first production at Circa, 40 years ago), and subsequently through recordings of songs such as ‘Send In The Clowns’, which I used to sing to myself around the house (if I wasn’t singing along to a cassette tape of Supertramp or Pink Floyd… or Bach or Handel). So I’m feeling pretty excited as I approach the theatre, expecting an enjoyable night of nostalgic musical moments.

My expectations are more than fulfilled, as this live presentation of an ‘album of Broadway classics’ is a lot more than just a concert-hall string of ‘greatest hits’ from Sondheim’s famous stage musicals. Co-directors Emma Kinane and Michael Nicholas Williams with choreographer Leigh Evans have brought together – visually, musically, artistically – a show that brings to life all the nuances of passion, pain, humour and wit contained in the genius of Sondheim’s music and words, in such a way that we are utterly drawn into each character’s world at every moment.

On a stage reminiscent of retro lounge-cabaret, we are treated to an eclectic array of songs written by Sondheim (and some of his contemporary collaborators) between 1959 and 1976, tied together by being from the same musical or by having common themes such as marriage or the fickleness of love. Each section is interspersed with witty, informative narration from each of the three singers. This is an interesting deviation from the original performances, where a single person narrates throughout. 

It is special to see that the narrator from Circa’s original 1979 production, Ian Fraser, is in the audience tonight, along with the pianists from that same production, Philippa Ward and Bruce Greenfield. Coincidently, they also happen to be the previous teachers of tonight’s two pianists, Michael Nicholas Williams and Colin Taylor.

From the moment they begin their twenty-fingered two-piano virtuosic overture, we know we are in expert hands! Not only do they negotiate the fiendishly difficult arrangements with flair and dexterity, they are at all times empathetic with the singers’ phrasing, supporting them musically throughout and adding to the humorous theatrics.

All three singers – Matthew Pike, Julie O’Brien and Sarah Lineham – work brilliantly together in ensemble, and each one shines with individual strengths, dramatically and vocally. There are many complex and compelling characters in Sondheim’s incredibly clever writing, and the frequent changes of accent, style and pace is demanding even for the most experienced of stage veterans.

Such is the sophisticated craft of tonight’s performers, that when we are invited to share with every joy and sorrow, we cannot help but empathise.  Moved at times of intimacy or despair; delighted by hilariously-executed comedic timing; blasted by full-voiced in-your-face rants; dazzled by fast-paced lyrics, sassy dance moves and rich harmonies, we ride the train of emotions with them all the way.

Matthew Pike is consistently excellent throughout his range, and holds us in the palm of his hand several times, most notably in the quiet reflection of ‘I Remember’ and with his beautifully soft high notes at the end of ‘Anyone Can Whistle’. He is particularly strong in ‘Marry Me A Little’, and also has some charmingly nimble balletic moments.

Julie O’Brien delivers with superbly clear rhythmic patter in ‘Getting Married Today’, and is wonderfully physically comical in ‘Ah! Paree!’ She elicits still more laughter when toying with pianist Michael Nicholas Williams in ‘I Never Do Anything Twice’, draws us in with ‘Send In The Clowns’, and her voice resonates powerfully in ‘I’m Still Here’.

Sarah Lineham has a voice of sweet clarity and agility, and great sense of timing, especially in ensemble work. She truly comes into her own in the second half, where her beautifully heartfelt rendition of ‘Losing My Mind’ is preceded by not only more strident singing but also a highly impressive and unexpected instrumental solo in the middle of ‘You Gotta Get A Gimmick’ (music by Jule Styne, lyrics by Sondheim).

Of the few songs in which Sondheim has collaborated to set lyrics to another composer’s music, the Anita/Maria duet from Bernstein’s West Side Story – ‘A Boy Like That / I Have a Love’ – seems slightly out of context here, whereas the others fit really well into the overall tone of the show.

The chauvinistic aspects of love relationships in past eras seem dated to us now, though the scenarios are still familiar, and the cast deals well with this by subtle changes of expression in the singing and humorous gender-reversals.

Lighting design by Lisa Maule sets the tone of each song or group of songs: warmly encompassing to denote ‘chorus’ effects and appropriately gloomy in the quieter numbers. Her Set Design also provides simple but effective backdrops, with a more urban feel for the second half.

Leigh Evans’ innovative choreography ensures a seamless flow between scenes and adds a naturalness to the interactions between all performers and to the positioning of solos and duets.

The sound is the only technical matter of concern: a persistent crackling of microphones mars part of the opening, and Sarah Lineham’s mic volume not working properly is a source of frustration for all, though this is resolved and we are able to hear the full fruits of her singing thereafter. 

All performers are fully ignited in the fabulous final numbers, bringing the show to a vibrant and positive end, and we leave the theatre humming all those wonderful tunes in our heads… This show is a must-see for all lovers of good humour and great performances of timeless music! 

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