SIMPLY "S" – Part 3

 SIMPLY "S" – Part 3
(a wholly-owned subsidiary of Alphabet Soup)

Concluding the series of shows beginning with the letter "S"… Part 2 ended with a revue of early Sondheim. Part 3 starts with the return to Broadway for one of its iconic stars in a hybrid musical/revue covering the entire Sondheim oeuvre. Also in Part 3 are: two of Christopher Durang's early one-acts; a sentimental, very traditional musical buoyed up by its magnetic star; the problematic musical version of Billy Wilder's masterpiece about the fleeting nature of fame; John Guare's fascinating, yet dated, study of "liberal" society; and lastly, an absolutely ridiculous, totally delightful musical spoof. Let's jump right in, shall we?

 SONDHEIM ON SONDHEIM – Studio 54, New York

March, 2010. First preview. Picture Side by Side by Sondheim updated to cover all of Sondheim's works. Picture Side by Side by Sondheim on steroids, with the Master himself commenting on his life and works via artistically placed onstage screens, courtesy of designer Beowulf Boritt, instead of the tart and always genial commentary of a Ned Sherrin or Burr Tillstrom. Then mark the occasion with the return to Broadway of legendary theatre icon Barbara Cook, with castmates the caliber of Vanessa Williams (classy, classy, classy), Tom Wopat, Leslie Kritzer, Norm Lewis, Euan Morton, Erin Mackey, and Matthew Scott. Heady stuff. And yet, for all that, the show lacked warmth, fun, the feeling of joy at performing this music. It was all done well, mind you, just remote and, frankly, impersonal. For a first preview, the show was remarkably assured and nothing outwardly seemed to go wrong. I wanted more Gypsy and less Passion; more Do I Hear a Waltz? and less Merrily We Roll Along; more Pacific Overtures full stop. The critics were divided with a couple of raves, a couple of pans, but most were mixed. (For the record, I was in the "mixed" category.) Highlight of the evening, hands down, was the juxtaposition of Vanessa Williams' "Losing My Mind" with Barbara Cook's "Not a Day Goes By." Thrilling. And one of the few moments of genuine excitement. Ms. Cook, overall, fared the best of all the performers with material that was carefully chosen to show off her magnificent skill set, closely followed by the wonderful Vanessa Williams and the endearing Euan Morton.  I enjoyed it, but, for my money, the more modest SxSxS is the better show. Sue me. – at Studio 54, New York.

About Ms. Cook: We went with our friend, Michael, who had never before seen Barbara Cook live. Prior to the show, he said he was eager to see it because he wanted to see what all the fuss was about re: Ms. Cook. At the interval, he said with awe and admiration, "Oh. Now I get it!" She was a marvel.
 

SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU/THE ACTOR'S NIGHTMARE – Wisdom Bridge Theatre, Chicago

May, 1982. Playwright Christopher Durang is very much an angry, bitter Catholic, or, if you will, ex-Catholic, recovering Catholic. Take your pick. Sister Mary Ignatius, etc., his diatribe about everything Catholic, decided to switch course midway through from being hysterically funny and dead-on pointed, especially to Catholics, ex-, recovering or otherwise, of which I am one, to being pointlessly violent and unfocused, and, well, that rather doomed the evening for me. The evening's opener, The Actor's Nightmare, fared better, but its premise got old quickly. This was the Midwest premiere of both plays, headed by acclaimed Chicago actor, Mary Ann Thebus, who did what she could with the material and how she was directed, but her performance, like Ignatius itself, became tiresomely one-note. Both plays have been popular with theatre companies and Durang's reputation grew as a playwright who could be counted on to never play it safe. I found the evening disappointing. Steve hated every minute of it. – at the Wisdom Bridge Theatre, Chicago

Tidbits: Christopher Durang would finally achieve mainstream success with his Tony Award-winning Best Play, Vanya and Sonia and Masha and Spike, a lovely play which is a far cry from the unrelenting anger of Sister Mary Ignatius. Wisdom Bridge Theatre, an Equity company and one of Chicago's premiere companies for many years, closed in the mid-1990s.  

SHENANDOAH – Arie Crown Theatre, Chicago

October, 1977. When Shenandoah opened at Broadway's Alvin Theatre on January 7, 1975, it was greeted with both love and dismissal. Fortunately for the show, one of the critics who gave Shenandoah some love, a rave-level love at that, was the New York Times's powerful Walter Kerr, one of the premiere and most astute critics of his time. (There are collections of his reviews. Read them. Fascinating stuff.) Although it never was anyone's first choice, in a lackluster season of musicals, the love it got was enough to propel it to a run of over 2 ½ years and a modest profit. Plus it won two Tony Awards that season, for Best Book, and more importantly, for John Cullum for Best Actor in a Musical. Based on the 1965 James Stewart-starrer film of the same name, Shenandoah wrapped its pacifist, anti-war message in a earnest, let's-leave-no-sentimental-trope-unturned package and brought it to Chicago with John Cullum leading a company of generically talented actors, each doing their assigned tasks competently, but without particular distinction. Thankfully, the show's darkest moment, when Cullum's son and daughter-in-law are murdered, took place offstage, which made it creepily effective. (Think The Diary of Anne Frank when you hear the Nazis coming up the stairs, but never actually see them. Brrrr!) The score by Gary Geld and Peter Udell was pleasant and tuneful, but, again, not especially remarkable, but had the great good sense to give Mr. Cullum opportunites to wow us with his vocal chops. In the end, it was John Cullum's compassionate and powerful performance that was the reason to see Shenandoah. Even in the inhospitable environs of Arie Crown, he gave the show a warmth and intimacy that, in that "theatre," and I use that term loosely, was often impossible to achieve. Was it the best show I've ever seen? Not by a long shot. But Cullum's performance was not to be missed. Like many "B" shows of the era, Shenandoah has more or less faded away.– at the Arie Crown Theatre, Chicago

Shenandoah bits: Two of Shenandoah's songs, "Freedom" and "We Make a Beautiful Pair," made their way into many of the musical programs that BFF Pat and I did for social clubs and organizations in the late 70s. Both good songs, and, bonus!, both utilized harmony, always a big crowd-pleaser at these events.

  - Shenandoah's lyricist and composer team of Peter Udell and Gary Geld had their longest Broadway run with Shenandoah, but probably their biggest success with the superior-in-every-aspect Purlie in 1970. Their third and final entry on Broadway was an ill-fated musical version of Look Homeward Angel, entitled Angel. It ran for five performances in 1978.

  - John Cullum would win his second Tony award in 1978's On the Twentieth Century, where he gave co-stars Madeline Kahn, Imogene Coca, and Kevin Kline a run for their money in a sensational over-the-top performance as Oscar Jaffee.  In his long and illustrious career spanning over sixty years (!!), he has consistently turned in remarkable and memorable performances that seemed effortless in their execution. This was made abundantly clear a few years back when Bob and I saw the pleasantly middling Waitress, where Cullum played the secondary role of Joe. His performance was quiet, gruffly gentle, and, frankly, the highlight of the evening. In a theatre world of flavors-of-the-month "stars," John Cullum is a theatrical treasure.

 

SUNSET BOULEVARD

 – Minskoff Theatre, New York

March, 1996. First NYC show with Bob! When I saw Betty Buckley in London in May, 1994, shortly after she'd assumed the part of Norma Desmond from originator Patti LuPone, I thought her performance, though vocally assured, was a little too suburban housewife and not enough grand dame. What a difference two years made! Oozing star presence and glamour, Buckley was every inch the "greatest star of all." Utilizing her arsenal of stage savvy, Buckley knew that her two "wow" moments musically were her two arias, "With One Look" and "As If We Never Said Goodbye," and she wisely saved the power pipes for those two numbers. After the first number, Bob whispered to me, "Okay, how does she top that?” After the second, he simply said with awe, "Oh!" She was magnificent. Her supporting cast of Alan Campbell (Joe Gillis), Alice Ripley (Betty Schaefer), and 1995 Tony-winner for Best Performance by a Featured Actor in a Musical, George Hearn, as Max Von Mayerling, were all excellent in their roles. But, here's the thing: as in London, the physical production tended to overwhelm the characters, the story, and the uneven score. It's hard to compete with a house that goes up and down on cue. And also as in London, as directed by the estimable Trevor Nunn, the characters were all somewhat odious creatures. I just didn't care about them. Norma's vain and delusional, Max is enabling both, Joe is a gigolo, and Betty's an adulterous opportunist. Not nice folks. Having said all that, though, one simply cannot deny the musical, thanks to its classic film roots, its considerable power and appeal. We in the audience roared our approval. Buckley for the win! – at the Minskoff Theatre, New York

 – Palace Theatre, New York

      

April, 2017. Remarkably, without all the design bells and whistles of the original, this "reduced" version, and "reduced" is a relative term since it was beautifully designed and lit to death, the focus was now strictly on the story without a levitating house to distract you. And somehow in the process, as directed by Lonny Price, who knows a thing or two about staging, uh, "concert" versions of musicals, all four of the principal characters became people you had empathy for. Sunset is still a flawed show, and some of the lyrics are just painfully awful, but it was now a more accessible show. Norma drives this bus, and Glenn Close still had what it takes, at 70, to whip that audience into an idolizing frenzy. Proud and vulnerable, she had us from her entrance. She was wonderful. Applause to Siobhan Dillon, Fred Johanson, and especially Michael Xavier, whose Joe Gillis was the best I've seen. He was also very hot in a skimpy blue swimming suit. Bonus!! Kudos to the talented ensemble and especially that divine 40-piece (!!!) onstage orchestra. Swoon! Bravo/Brava all!  - at the Palace Theatre, New York

SIX DEGREES OF SEPARATION – Barrymore Theatre, New York

Spare, stunning scenic design for Act 1.

April, 2017. John Guare's Six Degrees of Separation is widely considered to be one of the signature plays of the 1990s. The somewhat rambling story of a young black con artist claiming to be Sidney Poitier's son, offering the gullible upscale New Yorkers who are his victims to have his father cast them in a film version of Cats (Yes, I know, been done and we all know how that turned out!), was frequently very, very funny, but also, at times, maddeningly obtuse and verbose. The whole endeavor left one with a sour taste in one's mouth. That's the play itself. The production on display at the Barrymore was stunning to look at, directed with a dynamic flair, and cast pretty much to perfection. The kids alone were worth the price of admission. I'm a firm believer that one should never knowingly miss an opportunity to see Allison Janney onstage and she did not disappoint here. She was  the glue that held the show together in a welcome return to Broadway. If you're a Guare fan, this would have been your cup of tea. If, like me, you're not, it was still worth a visit. - at the Barrymore Theatre, New York

SOMETHING ROTTEN!

 – St. James Theatre, New York

August, 2015. First cousin to the superior Spamalot, this was both wildly derivative and wildly entertaining with two, not one, but two, flat-out showstopping numbers, one led by the scenery-chewing Brad Oscar and the other by the show's multitalented star, Brian d'Arcy James. How many shows can claim that? The second act faltered a bit, but the energy never flagged, and we laughed a lot, relished the musical theatre references, and overall had a great time. With nary a dud in the bunch, the absolutely top-notch cast, including a hysterically pompous and vain Christian Borle, John Cariani, the aforementioned Messrs. James and Oscar, Heidi Blickenstaff, Kate Reinders, Brooks Ashmanskas, Peter Bartlett, Gerry Vichi, Michael James Scott and an ensemble of talented folks, made the material soar. They all seemed to be having a blast doing the show, and their fun was infectious. The house at the St. James was on the smallish side (the mezzanine was less than half full), but we were a mighty vocal one. This show will make a killing on the regional/am-dram circuit. Terrific fun. - at the St. James Theatre, New York

 – Oriental Theatre, Chicago

July, 2017. I liked this show when I saw it in New York...a lot, but I LOVED it here in this top-grade Equity tour with an insanely terrific cast lead by Rob McClure. In a word, Mr. McClure was stupendous, and the reason this played better here than at the St. James. Funny and adorably dorky, he was so damn charming, he had the very enthusiastic audience in the palm of his hand from his entrance. He was a marvel. Adam Pascal was a preening, sexy Shakespeare. Special kudos to Kyle Nicholas Anderson, the cover for Nigel Bottom. He was great. Packed house. Great fun. - at the Oriental Theatre, Chicago

 – Marriott Theatre, Lincolnshire, IL

September, 2019. One of Marriott's most consistently excellent elements in its shows is the ensemble, and in the sparkling production of Something Rotten!, the ensemble once again did not disappoint. Crisply staged and choreographed, with nary a weak performance among its excellent cast filled with Chicago stalwarts, including Alex Goodrich, Adam Jacobs, Ross Lehman, Terry Hamilton, and Gene Weygandt, with special kudos to Cassie Slater's top-drawer Bea, this was the perfect antidote to the stress of a Trump-infected world. Marriott spends money, and it shows - show after show after show. Silly and tuneful, we had a grand time. - at the Marriott Theatre, Lincolnshire

And that ends the "Simply S" series. Stay healthy, stay safe, VOTE, and social distance!! Cheers!

© 2020 Jeffrey Geddes

SIMPLY "S" – Part 2

SIMPLY "S" – Part 2
(a wholly-owned subsidiary of Alphabet Soup)

More shows beginning with the letter "S"… a quintessential 1970s comedy, a Donald Driver play that smashed all records at Chicago's Ivanhoe Theatre, a valentine of a musical, the 2007 Tony-winning Best Musical, and a revue celebrating early Sondheim. Let's dive right in, shall we?

 SAME TIME, NEXT YEAR – Brooks Atkinson Theatre, New York

Full disclosure-Poster is not mine. Downloaded from internet.

June, 1975. Despite the snappy one-liners and despite the superb performances by Ellen Burstyn, who would win a Tony for her performance, and Charles Grodin, there was a persistent smarminess lurking just beneath the surface in Bernard Slade's paean to adultery, his Broadway debut. And this had nothing to do with morality or one's opinion one way or another on marital monogamy. Instead it was all just too safe, too pat, too aren't-we-being-naughty?, too adultery-for-Middle America-and-community/dinner-theatre-audiences to have any real resonance or emotional heft. Having said all that, I laughed a lot, and the more serious moments and events in Doris (Burstyn) and George's (Grodin) lives gave the play some needed breathing room, but no matter how wonderful Burstyn and Grodin were, and they were wonderful, I never became invested in their characters. It's not a bad play. It's solidly written and was popular with audiences, as its 1,453 performance Broadway run will attest. It was made into a successful film. It's been a popular choice in the Samuel French catalog. It's also severely dated, felt a bit dated even when new, and since its time frame is from 1951 to 1975, and playwright Slade is dead, I suspect that, even as a period piece, it would be just a bit too twee in the 2020 world. A quick check of Samuel French's website shows only a handful of upcoming productions. For Same Time, Next Year its time has come and gone. – at the Brooks Atkinson Theatre, New York

About Mr. Slade: Bernard Slade's theatrical career peaked with his Broadway debut and ended a scant seven years later with the ignominy of a one-performance flop. But, it would be foolish to feel sorry for Mr. Slade, for he had a very successful career in television, writing numerous episodes for Bewitched, being a script consultant for The Courtship of Eddie's Father, and the creator and writer for The Flying Nun, The Partridge Family, Bridget Loves Bernie, The Girl with Something Extra, and Love on a Rooftop. He wrote the screenplays for his three most successful Broadway shows and received a Tony nomination for Same Time, Next Year and an Oscar nomination for its screenplay. He died in 2019.

 STATUS QUO VADIS – Ivanhoe Theatre, Chicago

September, 1971. "In theoretical democracy all men are equal. In theoretical democracy there is no class system. Both assumptions are patently absurd. White the American Dream pursues this naiveté, a clearly defined strata of classes has evolved in which equality, theoretically horizontal, has become singularly vertical according to birth, intelligence and whatever union you happen to belong to. Equality has become our inalienable right to be equal with the people above so we need not be equal with the people below." So said author Donald Driver in his author's notes. A play about social status, social climbing, and the temptation to keep people in their places, this was a very funny satire, commentary, often both. According to William Leonard's review in the Chicago Tribune, one of the lines was this little bon mot: "It isn't any fun having something unless you can keep it away from somebody else." In Driver's world, one's status was prominently displayed on one's clothing, ranging from 5 (the lowest) to 1 (the highest). The hero is a "5," the woman he wants is a "1," and on the way he dallies with a "3." This was nearly forty-nine years ago, and to be perfectly honest, I don't remember much about it. I remember liking it quite a lot, laughing a lot, and I thought Gail Strickland, as the number "1" teacher, was coolly elegant, sexy, and classy. A handsome David Wilson played the hero and would later be a formidable Stanley Kowalski in Ivanhoe's Streetcar, and Ivanhoe alum Rebecca Taylor played the number "3" secretary David Wilson's character would meet, and use, as he tried to climb the social ladder. Loaded with Chicago favorites, Status Quo Vadis received terrific press in Chicago, became a massive sell-out smash, and kept extending and extending until it finally closed after more than fifteen months, smashing all Ivanhoe records. Buoyed by both the Chicago reviews and the Chicago success, it went to Broadway in an ill-advised move where it closed after its opening night performance. For the record, I saw Status Quo Vadis on my 21st birthday, and, yes, I celebrated with a couple of now-legal drinks afterwards. – at the Ivanhoe Theatre, Chicago

 

SHE LOVES ME

I've written at length about She Loves Me in an earlier post. This priceless gem of a musical is among my top twenty-five. It's romantic and gently funny with a killer score, tightly written, and loaded with primo roles. In fact, there's not a bad one in the bunch, from the ensemble to the leads. But despite its many charms and that magnificent score, She Loves Me, sadly, is largely unappreciated, but not, happily, by New York's Roundabout Theatre. That stellar company first revived it in 1993 in a run that exceeded the Broadway original, then again in 2011 as a one-night only benefit for the theatre with a star-studded cast (we were there), and finally in a glorious jewelbox of a production presented at Studio 54 in 2016. I never knew this before until I did some research for this post, but, unbelievable as it may seem, She Loves Me wasn't nominated for Best Score in the 1964 Tony Awards. Sorry? With an April 23, 1963, opening date, the musical opened too late to be considered for the 1963 Tonys, and with its closing date of January 11, 1964, it had played its final performance by the time the 1964 Tony Awards nominations were announced. Then, as now, shows that are no longer running at the time of nominations, and especially at the time voting takes place, are at a distinct disadvantage when it comes to picking up the Tony prize. She Loves Me was nominated for Best Musical, along with big winner Hello, Dolly!, Funny Girl, and the Blithe Spirit musicalization, with my favorite overture, High Spirits. But when it came to Best Score, Harnick and Bock's divine score didn't make the cut with noms going to the above three and the lovely 110 in the Shade. Now, with all due respect for Jerry Herman's ebullient and tuneful score for Dolly!, the winner, She Loves Me is the more complex, the more nuanced work. Was She Loves Me's closed status detrimental to its chances? Yes, I believe so. Also, the works nominated that year were musically very strong. Had the cutoff date for the 1962-1963 season been later, would She Loves Me have had a better showing at the Tonys? Yes, I believe so. A Funny Thing Happened on the Way to the Forum won Best Musical. She Loves Me is as good, if not better, than Forum. Lionel Bart's Oliver! won Best Score. I love Oliver!'s score, but, frankly, it can't compare to She Loves Me. Often in theatre, timing is everything, and in She Loves Me's case, the timing was unfortunately off.

– Studio 54, New York

March, 2016. Scaffolding may have obscured Studio 54's marquee, but inside this gorgeous theatre, musical magic was being made. This jewel of a musical showed its age every now and then, but the score is a marvel...not a bad tune in the lot. Scrumptious in design and beautifully played by an exquisite orchestra that featured a harp! Be still my heart! The starry cast, including Laura Benanti, Zachary Levi, Gavin Creel, Michael McGrath and Jane Krakowski, was uniformly warm and charming and sang the shit out of the score. One of Bob's former students, Laura Shoop, was in the hard-working ensemble. Met her afterwards backstage. Bonus...meeting Laura Benanti. I must admit I did a little Fan-Boying there. (PS: It's really very cool to be on the Stage Door list!) What a treat! - at Studio 54, New York

June, 2016. So, Bob and I are having a between-shows Saturday night early dinner at the terrific Italian restaurant, Amarone, on 9th in New York with our niece Colleen and nephew-in-law Andrew when Bob reads a Facebook post from his former student Laura Shoop stating that she just found out she was going on for Laura Benanti as Amalia at that evening's performance of She Loves Me. We already had tickets for The Father that night, but, well, we just couldn't miss an opportunity to see Laura in the lead role, now could we? So after some FB messaging back and forth between Bob, Laura, and the House Manager at Studio 54, we scored some really prime seats for that evening. Bob scurried over to the Friedman, thankfully only a couple of blocks away, to see if we could exchange tickets for the following day's closing performance. According to Bob, he explained the situation and the box office folks graciously changed our seats! Bob returned to the Amarone, and we all had a yummy meal. Tom McGowan was now playing Sipos, having replaced Michael McGrath. Jane Krakowski was out that night as well. And let me just say that cover Alison Cimmet was superb as Illona. Better than Ms. Krakowski in my book. And what about Laura's performance as Amalia, you ask? As the kids would say, she slayed. Truly. She gave a confident, charming performance that was effortless and sung to the nines. And with the rest of the cast giving it their considerable all, we had a grand time. (And enjoyed chatting with Laura afterwards in the star dressing room!) – at Studio 54, New York

Bob, Laura, and Me

 – Marriott Theatre, Lincolnshire, Il

 May, 2017. Marriott Theatre, in the northern suburbs of Chicago, usually manages to put together a diverse season of familiar, comfort-food musicals along with shows that aren't as well-known or as often mounted as your Hello, Dolly!s and The Sound of Musics. For example, She Loves Me. Aaron Thielen's frenetic staging made everything unfocused and oddly flat. What this did was take away from the singing and acting talents of its generally excellent cast. You don't try to take away focus during Ilona's first number by obviously changing the scenery. You don't try to imitate New York's successful revival if you can't do the bits as well. And you don't have your female lead sing her wonderful ballads while moving around like a whirling dervish. Perhaps the fault isn't so much Mr. Thielen's unimpressive direction as it is that She Loves Me simply isn't a show that translates well to an arena staging. (Marriott's The Drowsy Chaperone had the same staging issues.) Sometimes it was hard to tell in group scenes who was singing what; sometimes the group scenes were a total miss. Both weren't problems in Roundabout's proscenium staging. Having said all that, it's hard not to adore Alex Goodrich, and he was simply wonderful as Georg. Ditto a golden-throated Allison Sill, the Amalia cover, whose soprano was lustrous. Their supporting castmates were all uniformly fine, with the exception of Steven Strafford's Headwaiter, who was directed to imitate Roundabout's inestimable Peter Bartlett. He tried, but... This was one of the few times I wasn't overly impressed with Marriott's ensemble work, especially the customers who seemed to have an attitude that was off-putting, almost like they were all thinking "I'm too good to be in the ensemble." The orchestra sounded terrific and the audience seemed to enjoy it, though the reaction throughout was muted. In my opinion, this was one of Marriott's less-successful efforts, but still worth seeing just to relish the glorious Harnick and Bock score. - at the Marriott Theatre, Lincolnshire, IL

 SPRING AWAKENING – Eugene O'Neill Theatre, New York

February, 2007. Set in late 19th-century Germany, Spring Awakening, with its themes of teenage angst and burgeoning sexuality, was fresh, exciting, and innovative. With tight direction by Michael Mayer, crisp choreography by Bill T. Jones, and a rock-infused score that pleased even this non-rock person, Spring Awakening was really quite unlike anything I'd ever seen. Despite its time frame, it somehow managed to feel current and relevant. And thanks to its awesome cast of  talented young actors, including Skylar Astin, Lilli Cooper, Jennifer Damiano, John Gallagher, Jr., Gideon Glick, Jonathan Groff, Lea Michele, Lauren Pritchard, and Krysta Rodriguez, among others, and two hard-working older actors (Christine Estabrook and Stephen Spinella), the musical was performed with urgency and sincerity. I loved it. So much so that I bought the poster and had it framed. (It's currently hanging in our second bedroom.) It won eight Tony Awards in 2007, out of eleven nominations, including Best Musical, Best Book, and Best Score. It had a long and profitable Broadway run, successful tours, and a 2015 Broadway revival of Deaf West's acclaimed production. Here's the thing, though. Like future Tony-winner Once, though I was crazy about the show when I saw it, I've never had any desire to see it, or listen to it, again. It happens. – at the Eugene O'Neill Theatre, New York

SIDE BY SIDE BY SONDHEIM

– The Music Box, New York

May, 1977. The first evening devoted to the works of Stephen Sondheim took place on March 11, 1973 at New York's Shubert Theatre. It was a one-night performance, a benefit for the American Music and Dramatic Academy and the National Hemophilia Foundation. It featured a jaw-dropping cast of theatre A-listers, and was thankfully preserved on a LP (back in the day), then a remixed and remastered DVD. Forty-seven years later, it's still thrilling to hear. But that was 1973. His most current show, A Little Night Music, had just opened. So, one could justifiably say it was a tribute to early Sondheim, the Sondheim who won three consecutive Tony Awards for Best Score (Company, Follies, A Little Night Music). Jump ahead a mere four years. Leading Sondheim producer, Harold Prince, imported a new revue smash hit celebrating Sondheim from London, and, thankfully, received permission from Actors Equity Association to bring over the original London cast for a limited run. The show? Side by Side by Sondheim. The cast? Ned Sherrin, Millicent Martin, David Kernan, and Julia McKenzie. The urbane Mr. Sherrin provided the continuity, while Mr. Kernan and Misses Martin and McKenzie did the vocal work. I thought it was sophisticated, informative, and delightful. From my front row center aisle seat, I was thoroughly enchanted and often felt the performers were singing directly to me. I know I was grinning ear-to-ear throughout the show, so maybe. Highlights included Martin's "I'm Still Here" and her dry and laden with innuendo "I Never Do Anything Twice," McKenzie's "Broadway Baby" and her soaring "Losing My Mind," Kernan's blistering "Could I Leave You?", and the trio romping through "You Could Drive a Person Crazy" and "You Gotta Have a Gimmick." This became a gold standard of musical revues, and with 1975's Pacific Overtures the only new Sondheim show since the 1973 benefit, this was still very much a celebration of early Sondheim. This has nothing to do with anything, but I had an immediate and intense crush on the very handsome Mr.Kernan. Alas, it was not to be! I loved every minute of this. – at The Music Box, New York

What's in a Name?: As anyone who follows this blog knows, I'm a huge fan of the insanely talented Julia McKenzie. A familiar face in the U.K., she is not well-known on this side of The Pond. In fact, SXSXS was her only Broadway appearance. Broadway's loss. During her time in New York, she performed as Julie N. McKenzie because an American Equity actor had the "Julia McKenzie" moniker locked up. (Lest there be any confusion, the name change and the reason for it was noted in her Playbill bio.) In 2018, she was made Commander of the Order of the British Empire (CBE) for her services to drama.

Excuse Me, Mr. Gottfried?: SXSXS got basically excellent reviews when it opened. According to Steven Suskin's More Opening Nights on Broadway, the breakdown for seven critics was three raves, one favorable, one unfavorable, one pan. The New York Times's Clive Barnes titled his review "Side by Side by Sondheim is a Dream," and urged his readers to "turn cartwheels to the box office." And then there was Martin Gottfried of the New York Post. He hated the show. That's his right, of course, but then he crossed a line when he stated, "(Ned) Sherrin's supercilious manner and campy attitude turn the whole performance slantwise. Playing to the boys in the balcony, he regularly colors the show lavender blue and all too unfortunately, the three singers go along with it." I'm sorry, what? This sort of remark in 1977 and the Post kept him on? He was a theatre critic for years, the author of a handful of biographies, and even did some guest teaching at several universities. His reputation seems pretty unassailable, at least according to Wikipedia. But here's what author Boze Hadleigh had to say in his book Broadway Babylon: Glamour, Glitz, and Gossip on the Great White Way quoting Beverly Hills columnist and former Warner Bros. executive Richard Gully: "Critics have their own agendas, often fueled by green – money and jealousy. Or insecurity… One is Martin Gottfried…An out and out homophobe." Absolutely.

Meanwhile on the AmDram Front: In 1985, Waukegan Community Players mounted a one-hour version of SXSXS to send to a community theatre competition in downstate Springfield, the state capital. I was asked/recruited by my BFF Pat to handle the Ned Sherrin chores, which I agreed to providing I got to sing "Could I Leave You?" No problem. The problem turned out to be the director…a nice guy, but, well, inept at directing a revue. So, a peaceful coup brought about unbilled directing by the cast, and, eventually, a well-received performance in Springfield. I can't say enough about my fellow castmates. All of them oozed talent and generosity. It was a joy. Following that, I took a 23-year hiatus from the theatre, tired of all the politics of suburban AmDram. A short-lived return to the stage proved that not much had changed. Ah, well.

 – Drury Lane Theatre (Water Tower Place), Chicago

Pre-opening ad. Cyril Ritchard starring.

After Ritchard's heart attack and subsequent death, Burr Tillstrom took over the narrator spot.

January, 1978. Side by Side by Sondheim was still playing on Broadway when Harold Prince mounted a Chicago company at Drury Lane-Water Tower Place's in-the-round venue, starring Cyril Ritchard, Carol Swarbrick (understudy for Millicent Martin in New York), David Chaney, and Bonnie Schon (understudy for Julia McKenzie in New York) in the Ned Sherrin, Millicent Martin, David Kernan, and Julia McKenzie roles respectively. Early in the run, Ritchard suffered a heart attack, from which he would die a couple of weeks later, and was replaced by beloved Chicago faves, Burr Tillstrom, Kukla, and Ollie from the iconic "Kukla, Fran and Ollie" television show, a staple for many Chicago area kids of my generation. Wait. What, you say? Puppets? In a Sondheim show? I kid you not. And you know what? It was absolutely charming. If the sophistication level went down a few notches, the show still retained the marvelous Sondheim tunes and even featured a song Sondheim wrote specifically for The Kuklapolitan Players. One of the reviews in New York called the original Broadway production very "British," meaning there was a certain easy urbanity to the proceedings, an understated polish, and, of course, the accents. The production at Water Tower Place with Burr Tillstrom and his friends was definitely American. I was wild about Ms. Swarbrick. Mr. Chaney and Ms. Schon did their chores with great professionalism and fine voice. One of the highlights in New York for me was David Kernan's thrilling rendition of "Could I Leave You?" In Chicago, it was replaced with "Something's Coming." Why? Was Mr. Chaney uncomfortable with the song? Did the powers-that-be decide that Chicago audiences would react negatively to a man singing that song? Nothing against the West Side Story number, but, sorry, not nearly as powerful as the Follies song. In my opinion, the arena staging did the show no favors, and despite the talents of all involved, especially Ms. Swarbrick, I preferred the New York original. That being said, I enjoyed it enough to drag my roommate to the closing performance a week later. – at the Drury Lane Theatre (Water Tower Place), Chicago

 – Signature Theatre (The Max), Arlington, VA

June, 2011. With the narrator role eliminated and the continuity shared by the three talented performers serenading us with the early Sondheim catalog, Signature's production of Side by Side by Sondheim was sleek and personal. Wonderful as Mr. Sherrin and Mr. Tillstrom were in New York and Chicago respectively, this sharing of continuity duties gave us a chance to see more of the performers' personalities, invest in them as people and not just as singer/dancers. Signature's Max Theatre, the larger of the two theatres in the complex, is a lovely space and made this intimate show warm and inviting. Interestingly, "Could I Leave You?" was still absent from the program, with "Being Alive" now in the spot, a better choice than Water Tower Place's "Something's Coming," but both still not as good as "Could I Leave You?" Matthew Scott, Sherri L. Edelen, and Nancy Andrews were the singing and dancing trio onstage. I'm a big fan of Ms. Andrews, versatile and so, so good, so her appearance in the musical was a big plus in my book. The time flew by in the excellent company we were in. First rate production of one of the best musical revues. – at the Signature Theatre (The Max), Arlington, VA

About "Could I Leave You?": You may be wondering why I keep lamenting the loss of "Could I Leave You?" in productions of SxSxS. Here's why. The original trio of "Losing My Mind," "Could I Leave You?," and "I'm Still Here," all from Follies, are three superb examples of Sondheim's genius at encapsulating human emotions. "Losing My Mind" devastates us with heartbreaking longing. "Could I Leave You?" revels in its searing bitterness. "I'm Still Here" celebrates towering resilience. Each on their own is a brilliant number; sung one after the other is a mini-lesson in life. They fit together perfectly. Now "Being Alive" and, to a lesser degree, "Something's Coming" are good numbers, but neither fits the emotional journey that "Losing My Mind" sets us up for.

 And on that note… That wraps up Part 2. Next up: Part 3. Stay safe and healthy! And social distance!!!

© 2020 Jeffrey Geddes