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    Daniel Radcliffe on Breaking the Spell in ’Merrily We Roll Along’

    Daniel Radcliffe caught the first batch of Tony nominations during the announcement at 8:30 a.m. He texted congratulations to his “Merrily We Roll Along” co-star Jonathan Groff, who was nominated for best actor in a musical.But then dad duty called before his own category, featured actor in a musical, was announced at 9:00.“I was in the middle of doing breakfast and trying to put my son down for his morning nap, so I got a text from a member of the cast letting me know I was nominated,” said the actor, 34, who stars as the lyricist and playwright Charley Kringas in the acclaimed revival of the 1981 Stephen Sondheim-George Furth musical, “Merrily We Roll Along.”Radcliffe’s Tony nomination — for his fifth Broadway role since his 2008 debut in “Equus” — is the first of his career. And it’s extra special, he said in a phone conversation from his New York apartment on Tuesday, because not only Groff, but his other “Merrily” co-star, Lindsay Mendez, was also nominated, for featured actress.“People in your line of work probably get bored of actors talking about how much they love each other, how much they enjoy working with each other,” said Radcliffe, who is best known for playing Harry Potter onscreen. “And we do say it a lot, but this group is really awesome — Lindsay, Jonathan, the whole cast. I feel so lucky.”These are edited excerpts from the conversation.You recently were the ring bearer at Lindsay’s wedding, for which Jonathan served as the officiant. How did that come about?We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    ‘Eureka Day’ and Sondheim Revue Join Broadway’s Next Season

    Bernadette Peters and Lea Salonga will star in Sondheim’s “Old Friends” in Manhattan Theater Club’s Broadway season, which also includes “Eureka Day.”Manhattan Theater Club, one of the four nonprofit organizations that operate houses on Broadway, is planning to stage a vaccination comedy called “Eureka Day” and the Sondheim revue “Old Friends” at its Samuel J. Friedman Theater next season.“Eureka Day” predates the pandemic — it was first staged in 2018 in Berkeley, Calif., where it takes place, and the disease at issue is mumps, not Covid. The play, by Jonathan Spector, is set at an exuberantly left-leaning private day school; the characters are school board members who find their tolerance tested by the anti-vaxxers among them.The initial production was at the Aurora Theater Company; in 2019, there was an Off Off Broadway production presented by Colt Coeur that the New York Times critic Ben Brantley praised, saying it “is not only one of the funniest plays to open this year, it is one of the saddest.” There have been several other productions since; most prominently, in 2022, the show was staged at the Old Vic in London, with Helen Hunt starring.The M.T.C. run, which is to begin performances on Nov. 25, will be a new production, directed by Anna D. Shapiro. (She won a Tony for directing “August: Osage County.”) Casting has not yet been announced.“Old Friends” is a posthumous tribute to the acclaimed composer and lyricist Stephen Sondheim, who died in 2021. (“Old Friends” is the title of a song in the Sondheim musical “Merrily We Roll Along.”) The revue, a passion project for the megaproducer Cameron Mackintosh, was first performed for one night in 2022, and then had a 16-week West End run that ended earlier this year.The New York production, like the London production, will star the Tony winners Bernadette Peters (“Song and Dance”; “Annie Get Your Gun”) and Lea Salonga (“Miss Saigon”) and will be directed by Matthew Bourne (who won two Tonys for “Swan Lake”) in collaboration with Julia McKenzie, an English actress and frequent Sondheim performer. The New York production is to begin March 25, 2025, following a run at Center Theater Group’s Ahmanson Theater in Los Angeles.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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    Remembering Chita Rivera’s Unique Voice

    Chita Rivera died on Jan. 30, at age 91. Over her seven decades performing onstage and onscreen, Rivera established herself as one of the 20th century’s great dancers. “But to think of her only as a dancer,” says our chief theater critic, Jesse Green, “is to miss a really important part of what made her one of the most compelling stage performers of the last 70 years. And that is her voice.” Listen in as he presents some of Rivera’s great vocal performances.On today’s episodeJesse Green, chief theater critic for The Times.Photo illustration by The New York Times; Photo: Ted Streshinsky/Corbis, via Getty ImagesFurther reading Read Jesse’s appraisal of Chita Rivera’s gifts as a singerThe New York Times Audio app is home to journalism and storytelling, and provides news, depth and serendipity. If you haven’t already, download it here — available to Times news subscribers on iOS — and sign up for our weekly newsletter. More

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    The EGOT Winner Behind Sondheim’s Signature Sound

    To understand the role of the Broadway orchestrator, seek out the composer Stephen Sondheim’s piano demo for the song “Losing My Mind” from the musical “Follies” and then compare it to the version on the original cast recording. The demo’s tone is wistful and resigned, with a touch of the whiskey bar about it. In the finished version, the song sounds transformed: Ascending notes on the strings, interjections from the brass and crashing cymbals build to a powerful climax, evoking the heartache and inner turmoil contained in the lyric.What happened? The short answer: Jonathan Tunick.“I seem to have a nose for the theater, and it’s really like that,” Tunick, the prolific Broadway orchestrator, said during an interview in his book-lined study on the Upper West Side. “If something works, you can almost smell it.”Sondheim himself called Tunick the “best orchestrator in the history of the theater” during a 2011 video interview with Sony Masterworks. His work can be heard in three very different Sondheim musicals on New York stages right now: “Sweeney Todd,” “Merrily We Roll Along” and Sondheim’s posthumous musical, “Here We Are.”In fact, Tunick, 85, has orchestrated nearly every Sondheim musical since 1970, including “Company,” “A Little Night Music,” “Pacific Overtures,” “Into the Woods” and “Passion.” For other composers, he orchestrated “A Chorus Line,” “Nine,” “The Color Purple” and “A Gentleman’s Guide to Love and Murder.” An EGOT winner (that rare recipient of Emmy, Grammy, Oscar and Tony Awards), Tunick won a Tony for his “Titanic” orchestrations in 1997 (the first year the award was presented) and an Academy Award for the film version of “A Little Night Music.” Last fall he became the first orchestrator to have his portrait hung at Sardi’s.Sondheim and Tunick, in 2003, at the City Opera sitzprobe for the musical “A Little Night Music.”Sara Krulwich/The New York TimesAt the Sardi’s event, at least a couple of guests could be heard wondering aloud: What does a Broadway orchestrator actually do?Typically, for a Broadway show of the kind Tunick might orchestrate, the composer provides the vocal part along with some form of accompaniment. That accompaniment can be a basic chord sheet, a fully realized piano part or anything in between. It’s the orchestrator’s task — a long and lonely one, Tunick said — to turn that accompaniment into something an orchestra can perform.There are, of course, more poetic descriptions. In Steven Suskin’s book “The Sound of Broadway Music,” the original “Carousel” orchestrator, Don Walker, likened orchestration to “the clothing of a musical thought”; Hans Spialek, who orchestrated “On Your Toes” and numerous other Rodgers and Hart shows, compared it to “painting a musical picture.”Tunick’s preferred analogy is “lighting for the ears.” He often confers with a show’s lighting designer to determine which colors and shadings will be used onstage. The orchestra, he said, has the ability “to provide its own shadings of light, darkness, warmth and texture to the music and lyrics.”For the Broadway premiere of “Company” in 1970, Tunick fashioned a crisp, gleaming sound that was the aural equivalent of the chrome-and-glass set by Boris Aronson. Tunick conjured a hellacious soundscape for the macabre “Sweeney Todd”: agitated strings, blazing horns and frantic xylophones that evoke the scurrying of rats. For “Merrily We Roll Along,” he replicated the bold, brassy up-tempo sound of 1960s Broadway overtures.From left, Lindsay Mendez, Daniel Radcliffe and Jonathan Groff in the Broadway revival of “Merrily We Roll Along” at the Hudson Theater.Sara Krulwich/The New York TimesTunick sees to it that the instruments never get in the way of the words. “He is always aware of the lyric and the dramatic moment,” said Joel Fram, the music director of the Broadway revival of “Merrily We Roll Along.” He pointed to that show’s “Our Time” as an example, with its twinkling piano, simple woodwind solos, gentle rhythmic figure on the bassoon and pizzicato cello — a suitable soundtrack for the youthful optimism of the show’s protagonists at that point. “It serves the song rather than overwhelms it.”Charlie Alterman pointed to a favorite orchestration in “Company,” for which he served as the music director of the recent national tour. “It’s a bubbling up of emotion somewhere inside the character of Bobby,” he said, referring to the moment in the final number, “Being Alive,” when, unexpectedly, the melody of “Someone Is Waiting” — an earlier song filled with a yearning for companionship — sneaks in like a dawning realization.“Deep down there’s something that remembers the feeling of ‘Someone Is Waiting’ and wants to be heard,” Alterman said. The choice is intriguing on an intellectual level, “but at a gut level, it does that incredible thing that good music does, where you can’t quite explain it in your mind, but it’s clear as day in your heart.”Tunick remembers sneaking those few notes into “Being Alive” — and that Sondheim was pleased with the addition. “At least it showed him that I was paying attention,” Tunick said.More than merely making the music sound pretty or palatable, a great orchestrator “is also a playwright, telling the story and reflecting character in orchestral sound,” said Michael Starobin, who orchestrated Sondheim’s “Sunday in the Park With George” and “Assassins.”As the “Being Alive” example above demonstrates, orchestration “can hint at unspoken secrets,” Tunick said. “Things that the characters don’t say, or don’t want to say, or don’t even know.”ONE PIECE OF MUSIC made a big impression on the young Jonathan Tunick: “Tubby the Tuba,” the 1945 children’s song, centers on a forlorn tuba who longs to play the melody instead of just the bass line. Much like “Peter and the Wolf,” the song highlighted the distinct characters of the individual instruments of the orchestra. “This idea penetrated my growing brain,” he said. “It developed into a lifelong obsession.”Tunick had some perfunctory piano lessons as a youngster growing up in New York — “I sailed through the Diller-Quaile book in a week” — but it was a clarinet, a gift from his amateur clarinetist uncle, that kept his interest.While a student at what is now Fiorello H. LaGuardia High School of Music & Art and Performing Arts, he started his own band and played in the school orchestra as well as in the All City High School Orchestra. He started writing music, majoring in composition at Bard College, before paying his way through Juilliard by performing with the school’s orchestra.He was considerably more interested in what was happening at Birdland than on Broadway. “Musicals at the time were a little stodgy,” he said. “It was disposable popular entertainment. You’d throw it out like a used Kleenex. I was a little hipper than that.”While in college, a girlfriend introduced him to Frank Sinatra — and the possibilities of orchestral arrangement. He was struck by the way Nelson Riddle’s arrangements on Sinatra’s breakup album “In the Wee Small Hours” provided commentary, color and context. “He was tone painting,” Tunick said.College was followed by 10 years of fitful work as an arranger and orchestrator before a big break: orchestrating “Promises, Promises,” whose jazz-inflected score by Burt Bacharach brought a refreshingly contemporary sound to Broadway.Emboldened by that show’s success, Tunick called up Sondheim, whose originality and wit as a composer he had admired since hearing “A Funny Thing Happened on the Way to the Forum.” Tunick offered Sondheim his services for his next project.When he first heard the piano renditions of the songs that would become “Company,” Tunick was taken aback. With a few exceptions — “Barcelona” sounds like Erik Satie by way of Brazil, he observed — the score had a sound entirely of its own. “If anything it was sort of like Stravinsky, but not quite,” Tunick said, citing the peculiar melodies and rhythm of “The Little Things You Do Together” as an example of Sondheim’s startling originality. “What is that? In every case I had to give it careful thought.”Tunick is adapting the score of “A Little Night Music” for full orchestra, and will conduct a concert and recording of the new version this year.James Estrin/The New York TimesInitially, Tunick wasn’t overly confident in his ability to do justice to the material. “I was terrified,” he said. But, starting with “Company,” Tunick helped define the characteristic Sondheim sound. In contrast to the sumptuous blare of an entire orchestra at full blast, this was a sound defined by crisper lines, purer colors, more instrumental solos, more variation and contrast of tonal effects.That sound is certainly present in “Here We Are,” the new musical about privileged urbanites trapped in an existential nightmare. Befitting the sinister surrealism of the source material — the Luis Buñuel films “The Discreet Charm of the Bourgeoisie” and “The Exterminating Angel” — Tunick’s underscoring at times resembles the effervescently weird music of a Looney Tunes cartoon. And, once again, the orchestra knows something the characters don’t, greeting the happy exclamation “What a perfect day!” with notes that jar and thud.Orchestrating that show after Sondheim’s death in 2021 was “like going through the letters of a deceased friend,” said Tunick, “editing them for publication.” Tunick was happy with the result. “We went out on a high note,” he added.The musical collaboration will carry on, though.Having already reorchestrated several Sondheim shows — not just the ones he orchestrated originally — Tunick is adapting the score of “A Little Night Music” for full orchestra, rendering it more suitable for performance by symphony orchestras and in opera houses. He will conduct a concert and recording of the new version this year.In an even more profound and lasting way, of course, through cast albums and successive productions, the Sondheim-Tunick collaboration will continue to inspire generations of musical theater lovers — and reward ever closer listening.Tunick’s last meeting with Sondheim turned out to be only weeks before the composer’s death, at a concert of Tunick’s work at Sharon Playhouse in Connecticut. Tunick took the opportunity to say a few words to his longtime collaborator: “I know you hate sentimentality. But I have to tell you how much it’s meant to me, working with you all these years.”As Tunick tearily remembers it, Sondheim put his arm around him, saying, “Jonathan, we’re lucky we met one another.” More

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    Sondheim Was a Critical Darling. Since His Death, He’s a Hitmaker, Too.

    The musicals of Stephen Sondheim often struggled at the box office during his lifetime, but since his death several have become huge hits on Broadway.Stephen Sondheim, the great musical theater composer and lyricist, was widely acclaimed as a genius, but during his lifetime he had a bumpy track record at the box office, with many of his shows losing money.In death, however, his shows have flourished.A revival of “Merrily We Roll Along” — which was so unpopular when it debuted in 1981 that it closed 12 days after opening — is now the hottest ticket on Broadway. A lavish revival of “Sweeney Todd” that opened in March is already profitable, and at a time when almost everything new on Broadway is failing.Meanwhile, Sondheim’s unfinished and existentialist final work, “Here We Are,” is now the longest-running show in the brief history of the Shed, a performing arts center in Hudson Yards on Manhattan’s West Side, where luminaries like Steven Spielberg and Lin-Manuel Miranda signed up as producers to make sure no expense was spared on the Sondheim send-off.“There just seems to be an unbounded appetite for him,” said Alex Poots, the artistic director of the Shed.The posthumous Sondheim bump appears to have resulted from a confluence of factors.The big Broadway revivals feature fan-favorite talent — the “Merrily” cast includes Daniel Radcliffe of “Harry Potter” fame, while “Sweeney” is led by the celebrated baritone Josh Groban — reflecting a desire by top-tier entertainers to champion, and tackle, Sondheim’s tricky but rewarding work.The revival of “Merrily We Roll Along,” with, from left, Lindsay Mendez, Daniel Radcliffe and Jonathan Groff, is one of the hottest tickets on Broadway.Sara Krulwich/The New York TimesAlso: The outpouring of praise for Sondheim upon his death, when he was hailed as a transformational creative force, seems to have spurred new interest in his work. And his shows, some of which felt challenging when they first appeared, are now more familiar, thanks to decades of stage productions and film adaptations. Plus, according to most critics, the current revivals are good.“Sondheim went from being too avant-garde to being a sure bet, like you’re doing ‘A Christmas Carol’,” said Danny Feldman, the producing artistic director of Pasadena Playhouse, a Southern California nonprofit that won this year’s Regional Theater Tony Award. The playhouse devoted the first half of 2023 to Sondheim: A production of “Sunday in the Park With George,” a show once seen as esoteric, became one its best-selling musicals ever, and a production of “A Little Night Music” was not far behind. “The interest was shocking,” Feldman said.One side effect of his popularity: Ticket prices are high. “Merrily” is facing strong demand from Sondheim lovers and Radcliffe fans, but its capacity is limited; it is playing in a theater with just 966 seats. That has made it the most expensive ticket on Broadway, with an average ticket price of $250 and a top ticket price of $649 during the week that ended Dec. 17. “Sweeney” is also pricey, with tickets that same week averaging $175 and topping out at $399. (Both shows offer lower-priced tickets, particularly after the holidays.)“We shouldn’t be criticized for being a hit and paying back investors who have taken a big punt in New York,” said the “Merrily” lead producer, Sonia Friedman. “Most shows right now are not working, and therefore when something comes along that does, let’s get the investors some money back.”In life, Sondheim was often seen as more of an artistic success than a commercial one — a critical darling with a passionate but finite fan base, leading to short runs for many of the shows whose scores he composed, especially during their first productions. A few shows, particularly “A Funny Thing Happened on the Way to the Forum,” were hits from the start, but some musicals that are now viewed as masterpieces, including “Sweeney Todd” and “Sunday in the Park With George,” did not recoup their costs during their original productions.“It’s not like he fell out of favor and has been rediscovered. He’s always been revered and valued and prized by everybody who loves theater, but we also have to recognize that several of his shows, when they first premiered, were not understood and were not embraced,” said Jordan Roth, the producer who brought “Into the Woods” back to Broadway in the summer of 2022, seven months after Sondheim’s death. Now, Roth said, “The grip on our hearts seems to have tightened.”“Into the Woods,” a modestly scaled production, featured the pop singer Sara Bareilles and a troupe of Broadway stars. It recouped its costs and then had a five-month national tour.The original production of “Sweeney Todd” did not recoup its investment, but the current revival starring Josh Groban and Annaleigh Ashford is making a profit.Sara Krulwich/The New York TimesIn February, seven weeks after “Into the Woods” concluded on Broadway, “Sweeney Todd” began previews. It’s a much bigger production — big cast, big orchestra — that was capitalized for up to $14.5 million. It has sold strongly from the get-go (during the week that ended Dec. 10, it grossed $1.8 million) and has already recouped its capitalization costs.“I’m sorry that I can’t call him and say look at these grosses. He definitely would have had a sarcastic statement in response, but he would have liked it secretly,” said the show’s lead producer, Jeffrey Seller. “Who doesn’t want to be affirmed by the audience?”Groban and his co-star Annaleigh Ashford are ending their runs in the show on Jan. 14; the show’s success has prompted the producers to extend the run, with Aaron Tveit and Sutton Foster taking over the lead roles on Feb. 9.“It has morphed into being under the umbrella of an enormous and deserved celebration of Sondheim’s work and legacy and life,” Groban said. “All of a sudden there’s grief involved, and wanting to do him proud, and what-would-Steve-do feelings.”“Merrily,” which began previews in September, is the biggest turnabout, given that its original production is one of Broadway’s most storied flops. The current revival, capitalized for up to $13 million, has been selling out.“Of all the things he wanted, he wanted as many people as possible to be in the theater watching the shows, and he just missed it,” said Maria Friedman, the director of the “Merrily” revival and a longtime Sondheim collaborator.In November, 10 members of the company of the original ill-fated “Merrily” attended the revival and marveled at the reversal of fortunes.“It’s thrilling to see the show finally get its due,” said Gary Stevens, who was an 18-year-old in the original “Merrily” ensemble, and who is now 60 and works an executive at a chauffeuring company in Florida. “I’d be remiss if I didn’t say there was a sense of bittersweetness. We look at this revival’s success as, in some ways, our success, because the day after closing, even with how exhausted we were and how sad we were, we recorded a kick-ass album that kept that show alive, so that it became a legendary flop and cult classic that kept going and going, and now this.”Another member of the original “Merrily” cast, the actress and singer Liz Callaway, was nominated this year for a Grammy Award for a live album of Sondheim songs, one of two collections of Sondheim songs nominated in the 2024 Best Traditional Pop Vocal Album category. “I think a new generation is falling in love with Sondheim now,” she said.“Here We Are” is a little different. It is not expected to recoup its costs, or to transfer to Broadway, but both the leadership of the Shed and the commercial producer who raised money to finance the production proclaimed it a success.“It was always about honoring Steve’s legacy,” said the producer, Tom Kirdahy. “And we hope that it has another life, in London or on the road.”In London, there are also two Sondheim shows running. “Old Friends,” a revue of Sondheim songs with a cast led by Bernadette Peters and Lea Salonga, is in the West End. And at the Menier Chocolate Factory, a revival of Sondheim’s rarely staged “Pacific Overtures” opened earlier this month to critical praise.“For those of us who wanted to do right by him, this is a year I’ll never forget,” Groban said. “I just hope he’s smiling down.” More

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    Stephen Sondheim Belongs in the Pantheon of American Composers

    “You know, I had the idealistic notion, when I was 20, that I was going into the theater,” Stephen Sondheim once said. “I wasn’t; I was going into show business, and I was a fool to think otherwise.”It was a remark characteristic of Sondheim, the titan of musical theater whose decades’ worth of credits as a composer and lyricist included “West Side Story,” “Company” and “Into the Woods.” Here he was as many had seen him in interviews over the years: unsentimental and a bit flip, self-effacing to the point of selling himself short.Because among musical theater artists of his generation, Sondheim, who died in 2021 at 91, was arguably the most artistic — challenging, unusual, incapable of superficiality in a medium often dismissed as superficial. He was, perhaps to his disappointment, not the best businessman, with shows that rarely lasted long on Broadway. And his work was better for it.Sondheim has always had a dedicated fan base, but right now his musicals are true hot tickets with substantial real estate on New York stages. Recently, it was possible to take in four Sondheim shows in a single weekend: “Merrily We Roll Along” and “Sweeney Todd” on Broadway, “The Frogs” in a starry concert presentation by MasterVoices, and “Here We Are,” his unfinished final work, completed and in its premiere run at the Shed.From left, Lindsay Mendez, Jonathan Groff and Daniel Radcliffe in “Merrily We Roll Along” on Broadway.Sara Krulwich/The New York TimesTogether, they form a portrait that helps in considering Sondheim’s place among American composers. I say American because Broadway, alongside jazz, is the most homegrown of this country’s music, and his work constantly pushed the art form further. Where so many of his colleagues have operated within standard structures, he, even in writing a 32-bar song, seemed to always ask, “What else is possible?”It’s also important to consider Sondheim as a distinctly American composer because his writing reflects a creative mind repeatedly fixated on the idea of his homeland, with an ambivalence by turns affectionate and acerbic. It’s there in his lyric contribution to “Gypsy,” arguably the Great American Musical, which the musicologist Raymond Knapp has described as “a version of the American dream that leads, as if inevitably, to striptease.” And it continues, with an unconventional patriotism in “Assassins” and a revealing journey across state lines and years in “Road Show.”In that sense, Sondheim is not only one of the finest American composers, but also one of the most essential.“He and Lenny are at the top of that list,” Paul Gemignani, Sondheim’s longtime music director, said, referring also to Leonard Bernstein. “Most Broadway composers are writing pop tunes. Steve never wrote a pop tune. ‘Send in the Clowns’ got lucky.”Sondheim seemed fated to create musical theater at a higher level than his colleagues. Like Bernstein, he was pedigreed: His mentor, for lyric writing, was Oscar Hammerstein II, of Rodgers and Hammerstein; for composition, the modernist Milton Babbitt. Yet he emulated neither.In an interview with the Sondheim Review, Sondheim said that he was trained by Hammerstein “to think of songs as one-act plays, to move a song from point A to point B dramatically.” But he thought of them in more classical terms: “sonata form — statement, development and recapitulation.”And while Sondheim composed with the spirit of an avant-gardist, he was more of a postmodernist than Babbitt, though he described Babbitt as a closet songwriter who admired Kern and Arlen as much as Mozart and Schoenberg.“The first hour of each of our weekly sessions would be devoted to analyzing a song like ‘All the Things That You Are,’” Sondheim recalled, “the next three to the ‘Jupiter’ Symphony, always concentrating on the tautness of the structures, the leanness and frugality of the musical ideas.” Genre didn’t matter; craft did, which is why one of their most influential lessons entailed how a Bach fugue built, as Babbitt put it, an entire cathedral from a four-note theme. Sondheim would later do the same in the score of “Anyone Can Whistle.”As a university student, Sondheim wrote some juvenilia as a lyricist-composer — most intriguingly, fragments of a “Mary Poppins” musical that predates the Disney movie by over a decade. But, after a false start, his first professional credit was as the lyricist on “West Side Story.” “Gypsy” followed, with music by Jule Styne, but it wasn’t until “A Funny Thing Happened on the Way to the Forum” that Broadway saw its first show with both music and lyrics by Sondheim.He was often asked which came first, the music or the lyrics. The most accurate answer is probably sometimes one, sometimes the other, sometimes both, but with a deference to clarity of text. Like Wagner, who wrote the librettos of his operas, Sondheim wanted his lyrics to be heard and understood; his vocal lines resemble those of Janacek and Debussy, whose dramas unfurl with the rhythm of speech.Hal Prince, left, and Sondheim in 1988.Kyle Ericksen/Getty ImagesSondheim’s most prolific, and ambitious, period began with the concept musical “Company” (1970) and his collaborations with the eminent producer and director Hal Prince. Gemignani said that, together, they “never compromised on bringing their ideas to life.” It was during this period that Sondheim emerged as a postmodernist in the vein of John Adams, with a deep well of references presented with a wink or sincerity, but above all with dramaturgical purpose.That might be why “Follies,” from 1971, has been called a “post-musical musical.” Its score abounds in pastiche — what is “Losing My Mind” if not a Gershwin tune from an alternate universe? — and artful irony, such as dissonances that betray the darker truth of “The Road You Didn’t Take.”For “Pacific Overtures” (1976), Sondheim took a similar approach to Puccini in “Turandot,” by putting authentic sounds — in this case, Kabuki music — through his own idiomatic prism. But, like Puccini, he suggests rather than represents, unable to escape a Western perspective while purportedly telling a story from a Japanese point of view. It’s a contradiction that doesn’t serve the musical as well as the more globalist style of “Someone in a Tree,” a song that brought a simplistic American Minimalism to Broadway.Inspired by the spareness of Japanese visual art, Sondheim composed an analogue in a song that does little more than develop a single chord, over and over. As Philip Glass and Steve Reich were applying a world-music sensibility to the classical sphere, Sondheim wrote his own kind of repetitive phase music. “It’s not insignificant that when I met Steve Reich,” Sondheim later wrote, “he told me how much he loved this show.”He was on culturally surer ground with “A Little Night Music” (1973), in which the idea of variation is applied to waltz-like melodies in three. He wrote that his favorite form was the theme and variations, and that he respected Rachmaninoff’s “Rhapsody on a Theme of Paganini.” This musical came closer to that piece than anything else Sondheim wrote, with a hint of Sibelius.“The Frogs,” presented by MasterVoices, at the Rose Theater at Jazz at Lincoln Center in November.Erin Baiano for The New York TimesSondheim’s sound, like that of any good postmodernist, was both consistent and chameleonic, never more so than in “Sweeney,” which displays his genius and misguided musical beliefs in equal measure.Aside from “Passion” (1994), it is Sondheim’s most operatic work in sensibility and craft, yet he bristled at the idea of “Sweeney” being called an opera or an operetta and once wrote that “when ‘Porgy and Bess’ was performed on Broadway, it was a musical; when it was performed at Glyndebourne and Covent Garden, it was an opera.” (That’s not true. It was always an opera, and played on Broadway at a time when many operas did.)All told, “Sweeney” is a hybrid of music theater, one that brings in yet another medium: cinema. Sondheim believed that, with all due respect, “John Williams is responsible for “Jaws,” not Steven Spielberg.” His score for “Sweeney” is similarly rich with edge-of-your-seat underscoring, while the lyrics are both ingenious and inherently melodic. Sondheim was proud of the opening line of “The Ballad of Sweeney Todd,” and rightfully so: “Attend the tale of Sweeney Todd” sets a mood of theatrical artifice and anachronism, with a piercing consonance in the T’s as unsettling as Nabokov’s “tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth” in “Lolita.”Josh Groban, left, and Annaleigh Ashford in “Sweeney Todd” on Broadway.Sara Krulwich/The New York TimesHere, it must be said, that the sound of Sondheim would not be such without a crucial collaborator: Jonathan Tunick, his orchestrator to this day. (The scores of all four shows I recently attended were arranged by him.) Sondheim composed at his piano, then sang through while accompanying himself; from there, Tunick teased out the textures of his playing into entire instrumental ensembles.In an interview, Tunick said that you can’t overthink the process. “I was able to tell a great deal, not only from the actual notes but from the way he played them,” he added, “the way he phrased, the way he attacked a chord.” He described the transformation as, more than anything, “Dionysian.” At its fullest, the arrangement on Broadway now, the “Sweeney” score abounds in colorful flourishes and bone-rattling horror, the fluttering in the winds in one song as delicate as the low brasses are chilling at the start of “Epiphany.”If “Sweeney” reflects a worldview, a pretty dismal one, that speaks to America only allegorically, a more direct view of the country emerges in later works. “Merrily” comments obliquely on the period of history it covers, with the space-age promise of Sputnik giving way to cynical neoliberalism. And American themes are even more overt in the shows that brought Sondheim back together with John Weidman, the book writer of “Pacific Overtures”: “Assassins” (1990) and “Road Show,” a troubled musical that went through multiple revisions and titles before premiering in its final form in 2008. Both shows are flawed — “Road Show” structurally, and “Assassins” for its disturbing pageant of mental illness — but reflect the promise and tragedy of the American dream.“Assassins” goes so far as to propose “Another National Anthem,” which reads as a litany of disenfranchisement from a cast of characters who all feel let down by a system that was supposed to work for them; it’s not far from the complaints that fueled distrust of government today and the rise of Donald J. Trump.Micaela Diamond, left, and fellow cast members in the premiere run of “Here We Are” at the Shed.Sara Krulwich/The New York TimesMore barbed yet is “Here We Are,” in its sendup of elitism and the privilege of both apathy and revolt. For better and worse, the score has a valedictory spirit, recalling earlier work without quoting it exactly, and the lyrics contain satirical observations that wouldn’t be out of place in “Company.”My generation of theater fans came of age loving “Into the Woods,” which, because of its enduring popularity as theater for children, will remain onstage far into the future. But the Sondheim works most likely to last, from a purely musical perspective, are those that least readily show their age, and happen to be classical-leaning and postmodern: “Follies” is timelessly Broadway; “A Little Night Music,” universally elegant; “Sweeney,” perennially effective.Gemignani called “Sweeney” Sondheim’s “Porgy and Bess.” Like that show, it has played in Broadway theaters and opera houses alike. And like that show, it’s the masterpiece of a great American composer. More

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    MasterVoices Puts on a Starry Show With a Shoestring Budget

    This essential organization gives fresh, entertaining life to music theater curiosities. What if it had more money?There’s a lot of Stephen Sondheim in New York at the moment: the premiere staging of his last musical, “Here We Are,” and star-studded revivals of “Merrily We Roll Along” and “Sweeney Todd” on Broadway.And for one weekend this month, there was also one more show of his on: “The Frogs.”This endearingly weird, Aristophanes-inspired musical — created with Burt Shevelove and famously premiered at a Yale University swimming pool in 1974 — hasn’t been onstage in New York since a heavily revised 2004 revival that Sondheim conceived with Nathan Lane, who also performed the role of Dionysos.Few local institutions have the skill or interest to pull off “The Frogs” — with its bookish references and ironic-then-impassioned music — but it’s typical, delightful fare for MasterVoices and its artistic director, Ted Sperling, who mounted and conducted a concert staging of the musical at the Rose Theater. (Lane was there, too, now as a host guiding the audience through the show.)MasterVoices, a nonprofit chorus that mounts theatrical productions of seldom heard repertoire, lends its performances generously sized orchestras, a rarity on Broadway, as well as its chorus, which for “The Frogs” consisted of an all-volunteer group of 130 singers. Sondheim’s ensemble material was in moments gleefully tongue-in-cheek, as when extolling Dionysos with a lightly psychedelic, 1960s-style tune; at others, it sounded genuinely serious about the role of art in wartime.Nathan Lane, who conceived a revised version of “The Frogs” with Sondheim in the early 2000s, returned to the show with MasterVoices.Erin BaianoSperling had a command of this material befitting his experience: His first professional gig in New York, after college, was as a rehearsal pianist for Sondheim’s “Sunday in the Park with George.” (He also played synthesizer on the original cast recording: “All that harpsichord-sounding stuff is me,” he said with a self-effacing laugh during a recent interview.)In that conversation, shortly after the three-performance run of “The Frogs,” Sperling discussed how MasterVoices — previously known as the Collegiate Chorale — approaches its adaptations of rarely heard material.For starters, this scrappy organization can attract top talent like Lane because “we’re only asking them for two weeks of their time,” Sperling said, “not asking them to commit to a year’s run on Broadway.” As a result, “we are able to present all kinds of pieces that I don’t think other people can right now.”MasterVoices has independence and pluck: It managed to stay active during the pandemic by producing an online adaptation of Adam Guettel’s cult favorite song cycle “Myths and Hymns.” It has collaborated with the New York Philharmonic, as when it offered a thrilling performance of the Italian modernist Luigi Dallapiccola’s “Il Prigioniero” in 2013.At New York City Center in 2019, the group and the Orchestra of St. Luke’s put on an intoxicating performance of Kurt Weill and Ira Gershwin’s rarely heard “Lady in the Dark.”That range is a legacy of the original Collegiate Chorale — a group that, at its 1941 founding, was one of the first racially integrated classical ensembles. “Even the very early programs that I’ve been able to take a look at start with Bach and end with a Broadway tune,” Sperling said. “The DNA of the group has always been to try to be the people’s chorus, and something that represented a large swath of our community and that would have a broad appeal.”In recent seasons, I’ve heard MasterVoices give witty, precise accounts of George Gershwin’s political parody “Let ’Em Eat Cake” and Bizet’s original, comic opera version of “Carmen.” Any organization that can do justice to such a wide range of material has my immediate affection. But I’m far from the only fan: The “Frogs” run was sold out.But should more people have the opportunity to see them sing? The chorus’s budget for this season — in which they’ll also present Ricky Ian Gordon’s opera adaptation of “The Grapes of Wrath” next April — stands at a slight $1.9 million. Sperling, who is in his 10th year with the group, has some ideas of what he would do with more money, beyond simply expanding the number of performances.“I’d love to have a family of young singers who are professionals — and expert — who could be the backbone of our choral sound, and also step out and do smaller solo work,” he said. “And maybe also help us spread the joy of choral singing in our community, by being teaching artists.”The MasterVoices chorus is made up of volunteer singers, 130 of whom performed in “The Frogs.”Erin BaianoSperling wouldn’t mind a permanent home, either. In recent years, MasterVoices has bounced around from New York City Center to Carnegie Hall and Jazz at Lincoln Center, often renting spaces on its own. For “The Frogs,” Sperling noted, the crew loaded into the Rose Theater on Friday morning, just in time for a performance that evening. “I’d love to have a little more rehearsal time for everything we do,” he said. “It always seems like we’re doing it at the very edge of what we’re capable of.”Given those constraints, the group’s capability is all the more impressive. The MasterVoices version of Weill’s “Lady” included an updated book by Chris Hart and Kim Kowalke; that version has since been used in a celebrated production of the musical in the Netherlands. And because New York doesn’t have a comic opera company, MasterVoices fills a crucial, consistently entertaining niche. “I love that we can present these pieces that would not sustain a commercial Broadway run,” Sperling said, “or might not even fit in the opera house, necessarily, right now.”He added that he would like to add more projects to the season, which could raise MasterVoices’ visibility. They wouldn’t have to be at the scale of “The Frogs,” either: “I’d be interested in doing some smaller pieces that are part of that repertoire that I’m so eager to bring back to New York.”That might include William Bolcom’s early musical “Casino Paradise,” whose original production Sperling worked on. But, given the flexibility and inventiveness of MasterVoices, the possibilities are extensive.“I feel like there are a lot of operas out there that have been extremely popular around the country but have not found a home in New York yet,” Sperling said. “I’m on a mission to find out which ones of those would be a good fit for us.” More

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    Joanna Merlin, Known for Her Work Both Onstage and Off, Dies at 92

    Soon after appearing in the original Broadway production of “Fiddler on the Roof,” she began a new career as a prominent casting director.Joanna Merlin, who, after originating the role of Tzeitel, the eldest daughter, in the hit Broadway musical “Fiddler on the Roof,” became a renowned casting director, notably for Stephen Sondheim musicals including “Into the Woods” and “Follies,” died on Oct. 15 at her younger daughter’s home in Los Angeles. She was 92.Her older daughter, Rachel Dretzin, said the cause was complications of myelodysplastic syndrome, a bone marrow disease.The idea of becoming a casting director came from Hal Prince, the powerful producer of “Fiddler,” after she had left “Fiddler” to raise her two young daughters. He had interviewed several candidates and told Ms. Merlin that most of them “just didn’t like actors,” she told Backstage magazine.“He felt that since I was an actor and a mother, that I might be a good choice,” she added. “He understood that I was raising children and told me that he didn’t care what hours I put in, just as long as I got the work done.”She set to work in 1970, casting replacement actors in “Fiddler” during its last two years on Broadway. For the next two decades, she cast six musicals that were composed by Sondheim and produced (and usually directed) by Mr. Prince on Broadway: “Company,” “Follies,” “A Little Night Music,” “Pacific Overtures,” “Side by Side by Sondheim” and “Merrily We Roll Along.”From left, Ms. Merlin, the composer-lyricist Stephen Sondheim, the director Harold Prince and the playwright George Furth during a casting session for the 1981 Broadway musical “Merrily We Roll Along.”Martha Swope/The New York Public Library for the Performing ArtsHer casting credits also include two other Sondheim musicals, “Sweeney Todd” and “Into the Woods”; Andrew Lloyd Webber and Tim Rice’s “Evita”; and “On the Twentieth Century,” by Betty Comden, Adolph Green and Cy Coleman. All those shows except “Into the Woods” were directed by Mr. Prince.“What I found so interesting with Joanna,” James Lapine, who directed “Into the Woods” and wrote its book, based on the Grimm brothers’ fairy tales, said in a phone interview, “was her determination to pursue nontraditional casting in the theater, which for me, at a young age, was something I hadn’t thought much about.”Ms. Merlin’s pursuit of diverse casting led Mr. Lapine to choose a Black actress, Terry Burrell, to replace the white one who had played one of Cinderella’s evil stepsisters, and Phylicia Rashad, who is Black, as a replacement for Bernadette Peters in the leading role of the Witch.In 1986, Ms. Merlin was a founder of the Non-Traditional Casting Project (now the Alliance for Inclusion in the Arts), which seeks more opportunities for actors of color and actors with disabilities.Ms. Merlin, noting that there were many talented, nonwhite actors, told The Record of Hackensack, N.J., in 1990. “The reason they should be cast is because they’re good,”Ms. Merlin also cast six films, including Bernardo Bertolucci’s “The Last Emperor” (1987), for which she won the Casting Society of America’s Artios Award. She also won an Artios for “Into the Woods.”Ms. Merlin, far right, with Zero Mostel, center, and three other “Fiddler on the Roof” cast members (from left, Maria Karnilova, Tanya Everett and Julia Migenes) backstage after the show’s opening night in 1964. Associated PressJo Ann Dolores Ratner was born on July 15, 1931, in Chicago. Her parents were Russian immigrants: Her father, Harry, owned a grocery store, and her mother, Toni (Merlin) Ratner, helped in the store and became a sculptor in her 60s.She moved to Los Angeles with her parents and her sister when she was 15.She attended the University of California, Los Angeles, for a year in the early 1950s and, after acting in plays in the Los Angeles area in the early and mid-1950s, appeared in her first movie role, a small part in Cecil B. DeMille’s “The Ten Commandments” (1956).After some more screen work and roles in Off and Off Off Broadway plays, Ms. Merlin made her Broadway debut in 1961 in Jean Anouilh’s “Becket,” as Gwendolen, the mistress of Thomas Becket, one of Britain’s most powerful figures in the 12th century, who was played by Laurence Olivier. Later that year, she returned to Broadway to portray Sigmund Freud’s wife in Henry Denker’s “A Far Country.”After four unsuccessful auditions for a role in Bertolt Brecht’s “Mother Courage and Her Children,” which was staged by Jerome Robbins, she auditioned eight times for Mr. Robbins when he was casting “Fiddler on the Roof,” which opened in 1964. Although she lacked a strong singing voice, she was cast as Tzeitel, the oldest daughter of Tevye the milkman, the show’s principal character.The syndicated columnist Leonard Lyons wrote that when Ms. Merlin was pregnant in 1965 with her daughter Rachel, Zero Mostel, who played Tevye, told the stage manager: “Joanna’s baby just kicked. Send baby a note — not to kick.”She left the show in 1965 after Rachel was born, returned as Tzeitel a year later, and departed again in 1967 when she was replaced by her understudy, Bette Midler (who was also Rachel’s babysitter). After Julie’s birth in 1968, Mr. Prince made his offer.She continued to act, mostly in films and on television. Her roles included the dance teacher in “Fame” (1980), Julia Roberts’s mother in “Mystic Pizza” (1988) and an old Jewish woman in a short film, “Beautiful Hills of Brooklyn” (2008), which she and Ragnar Freidank adapted from a one-woman play by Ellen Cassedy.TV viewers might be most familiar with Ms. Merlin’s recurring role in “Law & Order: Special Victims Unit.” She played Judge Lena Petrovsky 43 times from 2000 to 2011. No other actor has played a jurist more often in the “Law & Order” franchise. She also appeared, as two different defense lawyers, in five episodes of “Law & Order.”Ms. Merlin as a lawyer in a 1994 episode of “Law & Order.” She also played a judge in 43 episodes of “Law & Order: Special Victims Unit,” setting a record for the franchise.Jessica Burstein/NBCUniversal, via Getty ImagesHer career as an acting teacher began in 1998 at New York University’s Tisch School of the Arts, and a year later she began holding workshops dedicated to the acting technique of her teacher, Michael Chekhov.In the foreword to her book, “Auditioning: An Actor-Friendly Guide” (2001), Mr. Prince wrote: “Her taste is impeccable. In no instance can I remember her recommending anyone less than interesting for a role.”In addition to her daughter Rachel, a documentary filmmaker, and her daughter Julie Dretzin, an actress, Ms. Merlin is survived by five grandchildren. Her first marriage, to Marty Lubner, ended in divorce. Her marriage to David Dretzin ended with his death in 2006 after a car accident in which he suffered a traumatic brain injury. Her sister, Harriet Glickman, died in 2020.For “Pacific Overtures,” which takes place in Japan after Commodore Matthew C. Perry’s visit in 1853 and which had an all-Asian cast, Ms. Merlin engaged in “what may be one of the most poignant talent searches undertaken for a Broadway show,” according to a 1976 article in The New York Times.Racism and economics often forced Asian actors out of the profession at the time. So when she had no luck finding actors in New York, she worked with Asian community and theater groups, Asian newspapers and the State Department to fill the roles. A third of those ultimately signed for the production were nonprofessionals.Among them was the actor Gedde Watanabe, who was a young street singer in San Francisco when she approached him and invited him to audition.“I didn’t believe her,” Mr. Watanabe said. More