Sondheim, Stephen

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      Stephen Sondheim, as Great a Composer as He Was a Lyricist

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      Our chief classical music critic remembers playing and teaching the unforgettable scores of “Sweeney Todd,” “Sunday in the Park With George” and other shows.“Sweeney Todd” had been open for a few months on Broadway when, one Saturday afternoon in June 1979, I passed by the theater where it was playing. I assumed that Stephen Sondheim’s latest musical was sold out, but I decided to take a chance and see if I could get a ticket to the matinee.Amazingly, there was a great one available — fourth row center. I was unshaven, in jeans and a T-shirt, carrying a stuffed backpack. I didn’t care. Elated, I took my seat.Then who walks in and sits directly in front of me? John Lennon and Yoko Ono. Would I be distracted by their presence?Not a bit. Even two cultural gods faded before the engulfing beginning of “Sweeney.”Sondheim, who died on Friday at 91, establishes the work’s dark, gothic mood in strange, chromatically wandering organ music right at the start. Then the deafening blast of a factory whistle breaks in, and the orchestra starts the prologue, a subdued, murmuring minor-mode riff over which the hushed chorus sings: “Attend the tale of Sweeney Todd.”I was immediately riveted by the grim, suspenseful drama of the music. Even in those opening moments, the musician in me wanted to know more. What were those harmonies, the chords that the rippling figure was tracing? What were those notes that seemed to escape from the orchestra and jab me with touches of dissonance? When the bass line that grounds the music took a sudden low plunge, it seemed, briefly, like the harmonic floor had opened a chasm. I had to get the score, to study the music, to see if I could figure out what was going on.Twenty-two years later, by then the chief classical music critic for The New York Times, I found myself seated at a piano, playing that opening music to “Sweeney” in front of its composer and asking Sondheim questions about it. During that Times Talks event in 2001, I also played other extraordinary passages from the show — like the moment early on when Sweeney, obliquely telling the young sailor Anthony the story of his tragic life, sings, in understated phrases, “There was a barber and his wife,” over a slow accompaniment that echoes the prologue.Then, Sweeney adds, “And she was beautiful.” At that final word — “beautiful” — the chord below, which repeats three times, is piercingly, hauntingly dissonant. A graduate seminar in music theory could devote considerable time to deciphering the elusive harmony. It has always struck me as a counterintuitive touch. Shouldn’t the wife’s beauty be conveyed through something more melting, more radiant?Yet, as we learn, it was this young woman’s beauty that made her the prey of the lecherous, powerful Judge Turpin. In our interview, Sondheim acknowledged that the moment had this subtext, yet denied that he had calibrated the effect; he said he had just followed his musical instincts.I also played excerpts from “Merrily We Roll Along,” never his most popular but perhaps my desert-island Sondheim musical, and one of his most appealing, ingeniously intricate and moving scores. All the songs are “interconnected through chunks of melody, rhythm and accompaniment,” as he put it in the liner notes for the original cast recording.I tried to show the audience how those chunks break down and fit together. Sondheim mostly just smiled and listened, nodding and saying, basically, “Yep, that’s it.” He never liked to discuss the inner workings of his music in front of the public. This was his business, he felt.He did offer detailed analyses of several of his works in a series of interviews in 1997 with Mark Eden Horowitz, a music specialist from the Library of Congress, later published as an essential book, “Sondheim on Music.”If you want specifics, this is your source. Of a passage in “Passion,” Sondheim says that two chords “represent the entire progression” of the sequence.“I write long-line stuff in either whole notes or half notes,” he added. “A whole note could represent four bars, eight bars, 12 bars, 16 bars,” but the “glue has to be harmonic” — “has to be spinning out the triad and spinning out the harmony.”Between my first time seeing “Sweeney” — I went back twice! — and getting to know him personally in the late 1990s, Sondheim was a singular presence in my life and work. When I taught music theory at Emerson College in Boston, I used Sondheim songs like “The Miller’s Son” (from “A Little Night Music”) and “Barcelona” (from “Company”) as illustrations of how he, while hewing to a tonal musical language, activated harmonies and folded elements of jazz and Impressionist styles in his own distinctive, exhilarating voice.In the early ’90s, at several memorial services for friends who had died of AIDS, I played “Good Thing Going,” a wistful song about recalling imperfect but cherished relationships. “Marry Me a Little,” cut from the original production of “Company” but beloved in later revivals as the protagonist’s statement of determination and despair, was another piece I relished performing; I still use the demanding perpetual-motion piano part as an exercise to keep my finger technique limber.In 2010, I made an 80th birthday tribute video to him for the Times website, in which, among other excerpts, I played and analyzed the wondrous chords at the start of “Sunday in the Park with George.” Here, the hero, Georges Seurat, speaking to the audience, explains the elements of painting, how the artist must bring “order to the whole” through design, composition, balance, light — and, finally, harmony. Each word is accompanied, almost musically illustrated, by a variant of a five-note arpeggio figure that uncannily embodies each concept. The chord for light is so piercing and bright you almost want to squint.In 2016, I posed to Sondheim the question of why such a master composer so seldom wrote a purely instrumental work. Yes, he was one of the greatest lyricists in the history of musical theater. But wasn’t he tempted to put words aside now and then, and just compose, say, a piano sonata?He answered that it wasn’t really the words that generated his musical ideas. “I express the character,” he said. “Let’s see what happens to him. I express it musically.” He was endlessly fascinated by the “puzzle of music,” he added. But when he gets solely into music, the “puzzle takes over.”I’ve been thinking since his death about a trip to the Bronx Zoo my husband and I took in the spring of 2019 with Sondheim and his husband, Jeff Romley. They were passionate animal lovers, and my cousin Kathleen LaMattina works and lives there with her husband, Jim Breheny, the zoo’s director. In a special room, these honored guests could pet sloths and penguins, and even get close to a cheetah, under a staff member’s calm control. I have pictures of Sondheim feeding leafy tree branches to a giraffe.I’m looking as I write this at the piano-vocal score to “Sweeney Todd” Sondheim signed for me the first time he came to dinner, in 1997.“To Tony,” his inscription reads. “With thanks for the enthusiasm.”That enthusiasm will never diminish, and the thanks will always go the other way. More

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      20 Stephen Sondheim Songs to Listen to Right Now

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      The lyricist and composer, who died on Friday, wrote dozens of piercing tunes for Broadway. Here is a selection of his most brilliant and surprising.The career of Stephen Sondheim, the celebrated Broadway songwriter who died on Friday at the age of 91, spanned decades and included 20 major productions, including forays into television and film. Here is one song from each of those 20 in chronological order, highlighting a genius that was evident from a jarringly early age (even if critics took a while to catch on) for mixing longing and ambivalence into clever, spiky, dependably unexpected lyrics.‘What More Do I Need?’From “Saturday Night,” 1954Dyspepsia lurks way in the background of “Saturday Night,” his first complete musical (which wouldn’t see a New York stage until almost a half-century later). But in this song, performed here by Liz Callaway, Sondheim depicts a level of dewy-eyed optimism — “Why, I can see half a tree/And what more do I need?” — that will become rare in his later musicals, which tended to pull the rug out on his clearly deluded dreamers. Here is the work of someone barely out of college who can’t believe he is already creating would-be standards.‘Something’s Coming’From “West Side Story,” 1957If this were a list of Leonard Bernstein songs, “Maria” or “Tonight” or “Somewhere” might easily take this spot. But it fell upon Sondheim to depict the inchoate yearnings of a street youth, played by Larry Kert, and offer a plausible glimpse into a mind barely able to glimpse it himself. Sondheim spent the next 60-plus years grumbling about the quality of his “West Side Story” lyrics: the unintelligible passages, the too-clever-by-half internal rhymes. We should all be so flawed.‘Rose’s Turn’From “Gypsy,” 1959How to pick just one song from what many consider is the greatest musical ever? None other than Cole Porter gasped at one of Sondheim’s lyrics in “Together, Wherever We Go,” and “Everything’s Coming Up Roses” earned the 29-year-old a spot in Bartlett’s book of quotations. But it is Ethel Merman’s absolute tour de force — one that, owing to the composer Jule Styne’s previous engagement one fateful night, Sondheim largely willed into being at a rehearsal piano — that gave the clearest example of what lay ahead.‘Comedy Tonight’From “A Funny Thing Happened on the Way to the Forum,” 1962The galumphing opening chords marked the first time Broadway audiences heard Sondheim’s music as well as lyrics. And they were this close to instead hearing an opening number called “Love Is in the Air,” which is sprightly and charming and the absolute wrong way to kick off an evening of vaudeville turns and eunuch jokes. Luckily, Jerome Robbins caught an out-of-town performance just before its New York transfer and mentioned this to Sondheim, who wrote that weekend the no less hummable “Comedy Tonight,” sung here by Jason Alexander. As exacting as he was with his notes and his words, Sondheim did what he had to do in order to make a show work.‘Anyone Can Whistle’From “Anyone Can Whistle,” 1964There is a frequently cited notion (one that Sondheim just as frequently refuted) that the show’s title song represents the purest, most unadulterated look into his own emotionally stunted psyche. Leaving that aside, the song — performed on the original cast recording by Lee Remick — is a bittersweet oasis in a show stuffed with ideas and set pieces and pastiche numbers and the sorts of Big Ideas that Sondheim would soon learn to convey more adroitly. It’s not all so simple, not by a long shot.‘We’re Gonna Be All Right’From “Do I Hear a Waltz?,” 1965Sondheim didn’t want to go back to solely writing lyrics, and he quickly regretted teaming up with Richard Rodgers, the longtime writing partner of Sondheim’s mentor, Oscar Hammerstein II. One of the collaboration’s many skirmishes involved this song, a wry evisceration of an unhappy marriage that apparently sounded an awful lot like Rodgers’s own. The version that made it to opening night is clever; the one that got tossed, later resurrected and sung here by Jason Danieley and Marin Mazzie, is brilliant.‘I Remember’From “Evening Primrose,” 1966Not even the “I want” song remained intact in Sondheim’s visionary hands. This quirky made-for-TV romance, in which the female lead ruminates on the years she has lived inside a department store and pines to see the sky again, had all but disappeared until Mandy Patinkin invited his “Sunday in the Park With George” co-star Bernadette Peters to record the score with him on a 1990 album. With its trees like broken umbrellas and ice like vinyl, the song is more than a little bit creepy and altogether marvelous.‘Getting Married Today’From “Company,” 1970Possibly the greatest artistic hot streak of the 20th century (take note of the dates on this and the next two entries) began with this quasi-Brechtian look at marriage through the eyes of 35-year-old Bobby, who — maybe, sort of, kind of — wants no part of it. This anxiety-drenched patter song from one of his friends, sung on the original cast album by Beth Howland, doesn’t do much to allay Bobby’s fears. In the process, the already high-bar of Sondheim’s lyrical virtuosity vaulted several notes higher.‘The Road You Didn’t Take’From “Follies,” 1971The word “ambivalence” typically surfaces in a discussion of Sondheim and his themes, with “Company” as Exhibit A. (That score includes the song “Sorry-Grateful.”) But while the “Follies” score is chockablock with such barn burners as “Broadway Baby” and “I’m Still Here,” along with the piercing “Losing My Mind,” this character study, sung on the original cast album by John McMartin, sublimely lays the groundwork for the misgivings to come. And its final two lines — “The Ben I’ll never be/Who remembers him?” — should hang in a museum.‘Send in the Clowns’From “A Little Night Music,” 1973The haunting “Every Day a Little Death” and the virtuosic triptych of lust that is “Now/Soon/Later” would be career-defining works for just about anyone else. But any time Sarah Vaughan, as heard here, and Frank Sinatra and Judy Collins and Barbra Streisand and Judi Dench and Krusty the Clown of “The Simpsons” can agree on anything, let alone a bittersweet rumination on lost love with an oscillating time signature, the choice is obvious.‘Fear No More’From “The Frogs,” 1974As reluctant as Sondheim was to write lyrics for other composers, it was almost unheard of for him to write music for other people’s lyrics. But he made an exception for William Shakespeare (as one tends to do) in this curiosity that debuted in a Yale University swimming pool and reached Broadway 30 years later. In this adaptation of an Aristophanes comedy, Shakespeare squares off against George Bernard Shaw in an agon, the high-stakes debate that was common in ancient Greek comedies; Sondheim’s gossamer arrangement of this soliloquy from “Cymbeline,” sung here by George Hearn, helps earn the Bard a ticket out of the underworld.‘Someone in a Tree’From “Pacific Overtures,” 1976Sondheim described the frequent request to name a favorite of his own songs as “understandable but unanswerable.” Still, he repeatedly answered it anyway by suggesting this prismatic song, in which an eyewitness and an earwitness give markedly different accounts of a meeting (accounts that are muddied further by the re-recollections of the eyewitness as an old man). Perhaps it was his wish to essentially elevate his audiences to collaborators: Whether high up in a branch or seated in a Broadway theater, the very act of experiencing something makes that thing real (“Without someone in a tree/Nothing happened here”).‘A Little Priest’From “Sweeney Todd,” 1979Seconds before this song, the titular “Demon Barber of Fleet Street” has morphed from a revenge seeker into an indiscriminate psychopath in the bruising aria “Epiphany.” Only one song remains before intermission. How could the tension possibly heighten even further? It can’t, and so Sondheim (and book writer Hugh Wheeler) instead puncture it with an uproarious one-liner from Sweeney’s murderous counterpart, Mrs. Lovett, followed by a ghoulish list song — possibly the greatest of Act I finales — in which the two, here Angela Lansbury and Len Cariou on the original cast album, make macabre sport of listing the various individuals they plan to grind into meat pies.‘Good Thing Going’From “Merrily We Roll Along,” 1981What do you call a recapitulation whose narrative unspools backward? A precapitulation? The DNA of this sadder-but-wiser lament can be found throughout the show, including in an earlier (or later, by the show’s logic) up-tempo iteration and in the evening’s very first (which makes it the very last) piece of music, a high school commencement song. But the third (first?) time is the charm, complete with a devastating and just-flashy-enough final line that helped turn it into a crossover hit for Sinatra, heard here.‘Finishing the Hat’From “Sunday in the Park With George,” 1984Seeing as Sondheim named not one but two books after this song (the second edition is called “Look, I Made a Hat,” and both are essential reading), it clearly had significance for him. As a teenager, I thought this depiction of creation — and the combination of rigor and abandon that it requires — ended on a note that was equal parts proud and rueful. How wrong I was about the rueful part. And the immensity of “What you feel like, planning a sky,” sung here by Mandy Patinkin, will never dissipate.‘On the Steps of the Palace’From “Into the Woods,” 1987So many of the most astonishing moments in Sondheim’s lyrics come from decisions made then and there: young Gypsy Rose Lee finding her voice mid-striptease, Bobby in “Company” resolving to be alive by not being alone, Sweeney Todd settling on the idea of mass slaughter. Perhaps the most beguiling is this number, in which Cinderella, played here by Kim Crosby, turns the act of leaving her glass slipper behind into a conscious choice. Sondheim credited his “Woods” book writer, James Lapine, for the idea, but the sparkling execution is his alone.‘The Ballad of Booth’From “Assassins,” 1990More than 30 years into a convention-shattering career, Sondheim still raised eyebrows when he announced he was about to musicalize the likes of John Hinckley Jr. and John Wilkes Booth. Some of those eyebrows never totally lowered: A Broadway revival was postponed in the wake of 9/11. But this early set-piece, in which Booth (Victor Garber, joined by Patrick Cassidy as the Balladeer) mashes up grandiose poetry, self-pity, cogent criticism and vile racism in a plaintive cri de coeur, went a long way toward reminding audiences that they were in very good and very frightening hands.‘What Can You Lose?’From “Dick Tracy,” 1990Madonna’s slinky “Sooner or Later” may have won the Academy Award, and “More” may be more chockablock with musical theater Easter eggs. But it’s this Harold Arlen-inspired song of unrequited love that gives Warren Beatty’s rather cluttered film the closest thing to a heartbeat. Sondheim’s original duet has become a heart-rending solo for the likes of Audra McDonald, Gavin Creel and, from his virtual 90th-birthday celebration, Judy Kuhn.‘Loving You’From “Passion,” 1994“Passion” was the first musical I saw (and saw again and again) in its original run. And those initial audiences hated Fosca, the grasping, manipulative, unprepossessing third point of the show’s love triangle. This song comes late in the piece, just as she reappeared in a way that had people around me snickering and groaning at the mere sight of her. These 135 seconds — one of Sondheim’s simpler melodies — changed pretty much everything. Fosca, played here by Donna Murphy, was every bit as suffocating as before, and maybe even more baffling. She was also a heroine.‘Isn’t He Something!’From “Road Show,” 2008This show — which started as “Wise Guys” and then became “Bounce” before settling as “Road Show,” each time with a starry new director and a commensurate lurch in direction — went through very public growing pains, including an ill-fated reunion with Hal Prince and lawsuits with Scott Rudin. This melancholy charmer, sung by a doting mother (here, Alma Cuervo) about her ne’er-do-well son, entered the show’s ever-changing song stack fairly early on and remained a high point each step of the way. More

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      Get to Know Sondheim’s Best in These 10 Videos

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      Jake Gyllenhaal, Patti LuPone, Judi Dench and an all-star Zoom trio find the wit, pathos and heartbreak in a remarkable songbook.Songs are there to serve the story and the show, Stephen Sondheim insisted. That’s not to say that his poignant duets, skittery patter songs and ambivalent tributes to old Broadway can’t deliver thrills even out of context. Here are 10 videos that show why, in mourning his loss, performers and writers are expressing thanks for his genius.‘Finishing the Hat’Jake Gyllenhaal’s turn in the title role of “Sunday in the Park With George” was meant to last three concert performances, but the response was so glowing that what started as a 2016 Encores! fund-raiser was retooled for Broadway. This backstage rendition of “Finishing the Hat,” a lament for the artistic struggle, shows why.‘Loving You’Judy Kuhn starred as the lovesick Fosca in the Classic Stage Company’s 2013 revival of “Passion,” one of Sondheim’s most austere, yet romantic scores. Among those who have covered this aching ballad are Barbra Streisand and Barbara Cook; Kuhn is onstage now at the same theater, playing Sara Jane Moore in Sondheim’s “Assassins.”Judy Kuhn, accompanied by Mairi Dorman-Phaneuf on cello, sings “Loving You” from Stephen Sondheim and James Lapine’s musical “Passion,” now in revival at the Classic Stage Company.‘The Ladies Who Lunch’Sondheim’s 80th birthday was marked in an all-star tribute with the New York Philharmonic, in which Patti LuPone ripped into “The Ladies Who Lunch,” the boozy “Company” showstopper she is performing on Broadway in the revival now in previews. (Elaine Stritch, who introduced the song in the original production, was there, watchfully watching; she gave her all to “I’m Still Here” from “Follies.”)‘The Ladies Who Lunch’While the composer’s 90th birthday fell in the middle of the pandemic, a Zoom tribute still managed to hit the heights, no higher than when Audra McDonald, Meryl Streep and Christine Baranski knocked back the vodka stingers to “drink to that.”‘Giants in the Sky’A spate of stripped-down revivals have brought new life and young fans to the Sondheim songbook. Here Patrick Mulryan, playing Jack (of Beanstalk fame) in the Fiasco Theater’s 2014 “Into the Woods,” sings the plaintive “Giants in the Sky.”Mr. Mulryan sings “Giants in the Sky” from the Fiasco Theater’s production of the musical “Into the Woods,” with Matt Castle on piano. The show is at the Laura Pels Theater through April 12.‘I’m Still Here’Yvonne DeCarlo originated this showbiz survivor’s anthem in “Follies” on Broadway 50 years ago, and Ann Miller, Polly Bergen and Shirley MacLaine (onscreen in “Postcards From the Edge”) have done it, too. Tracie Bennett got the plum assignment in the National Theater’s lush 2017 revival; its director, Dominic Cooke, is on tap to make the very-long-awaited movie.‘Losing My Mind’The middle-aged former showgirl Sally Durant sings this “Follies” classic, but Jeremy Jordan proves this ballad of obsessive love and lifelong regret is truly universal.‘Send in the Clowns’Sondheim’s one true pop hit, thanks to Judy Collins, has become a full-fledged American songbook standard, thanks to Judi Dench and other performers who’ve gotten under the skin of the rueful actress Desiree Armfeldt in “A Little Night Music.”‘Not While I’m Around’This duet between the murderous Mrs. Lovett and her young charge Tobias offers the rare glimpse of unadulterated affection in “Sweeney Todd: The Demon Barber of Fleet Street,” though it turns out to be short-lived. Melissa Errico keeps things uplifting in this lilting track from her much-praised “Sondheim Sublime” album.‘Move On’Singing from home, earbuds and all, can’t dampen the emotion of this unforgettable “Sunday in the Park With George” duet between the artist Georges Seurat and his mistress (and model) Dot, played on Broadway by Jake Gyllenhaal and Annaleigh Ashford. More

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      Impromptu Stephen Sondheim Wakes Fill Piano Bars With Tears and Tunes

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      Lines of Stephen Sondheim fans formed outside Marie’s Crisis Cafe in Greenwich Village as news of his death spread. Inside, it was all-Sondheim on the piano.LaShonda Katrice Barnett had just finished a nice rooibos at a tea salon when she overheard some people at a nearby table.“They were all on their mobile phones and someone said, ‘Stephen Sondheim passed away just now,’ and I screamed ‘Oh no!’ very loudly,” Ms. Barnett, 47, said. “I jumped up, went into the bathroom, cried a lot for a while. Threw up.”She immediately knew her next move. “I thought, ‘I need to be with people in grief,’” she said. “So I came here two hours ago, and I’ve been here, singing and crying.”After hearing the news of Mr. Sondheim’s death, LaShonda Katrice Barnett headed to Marie’s Crisis Cafe. “I came here two hours ago, and I’ve been here, singing and crying,” she said.Jeenah Moon for The New York Times“Here” was the Greenwich Village piano bar Marie’s Crisis Cafe, where a line formed in the late afternoon and never let up for hours as fans gathered to commune, aware that they would be surrounded by people who not only perfectly understood their feelings, but who also knew Sondheim deep cuts and could nail tongue-twisters like the “Bobby baby, Bobby bubi, Bobby” line from “You Could Drive a Person Crazy.”“I had other plans tonight,” said Mark Valdez, 28. “My family’s busy for the Thanksgiving holiday, but then we found out that Mr. Sondheim died.” Asked if he had ditched them to go to Marie’s, he laughed and then choked up a little: “Oh no, I just brought them. It’s a family here and I want to be with family.”Jim Merillat, 63, was at the piano from 5:30 p.m. until 10 p.m., playing Sondheim tunes the entire time. “This was a place to process the news and celebrate his life and his work,” he said, chatting with friends an hour after his shift had ended.“I found that phrases or even fragments of phrases in songs would catch me in a different way because now it was about him,” he continued. “I found myself a little choked up several times through the evening.”It was a crowd that knew its Sondheim tunes.Jeenah Moon for The New York TimesAcross the street from Marie’s, the mood was decidedly more raucous at the Duplex, where an ad hoc reunion of “Mostly Sondheim,” an open mic that ended a 12-year run in 2016, was underway. Inside, musical-theater insider jokes freely mixed with raunchy profanity and references to “The Real Housewives of Salt Lake City.” The appreciative room fell into a hush at all the right moments, though, as when the music director Brian Nash teared up during the spoken opening of “Sunday in the Park With George.”“See, I’m crying so hard, ” he said. Then he and hosts Emily McNamara and Marty Thomas went straight into the upbeat “Comedy Tonight.”Shortly after hearing the day’s news, Mr. Nash decided to bring back “Mostly Sondheim.” Luckily, the upstairs cabaret at the Duplex, a few doors down from the Stonewall Inn, was available. “It seemed important to hold a space for folks to feel whatever they needed to, to sing and cry and laugh and be with people who understood what a loss this was to those who love theater,” he said in an email sent near dawn.He had no problem rallying the troops.“I was so ready to go home and go to bed,” said Ms. McNamara, who had been at a big family gathering in New Jersey. “But when Brian called me I was like, ‘I’ll chug some caffeine, put on some lashes, and let’s go!’ ”There was trivia: “Now we’re going to find if there are actual nerds in the room: On what song did Sondheim write the lyrics under the pen name Esteban Río Nido?”(Answer: “The Boy From …” with music by Mary Rodgers.) And there were reminiscences about first encounters with Sondheim, and of high school performances.And even those stuck at home could join in when Telly Leung (who was once in a Broadway revival of “Pacific Overtures”) encouraged the crowd to sing along to “Not a Day Goes By” — the event was livestreamed on Facebook. (A commenter rejoiced: “I am trapped in Delaware with no access to a piano bar. Thank you Brian and all for bringing the tribe to me.”)Others mourned and celebrated Mr. Sondheim at the theater: he had shows running on Broadway and off when he died, and Friday night’s performances were exceptionally emotional.The cast of the new revival of “Company” took a moment before the show to mark his loss, with Patti LuPone center.Jeenah Moon for The New York TimesAt the Classic Stage Company, which is presenting “Assassins,” Daniel Jay Park was there to celebrate his 40th birthday, but also to honor a master, whom he had worked with when he appeared in the 2004 revival of his musical “Pacific Overtures.”“Whenever any one of us would mess up, his head would just lift up from the newspaper and we would all know,” he recalled before the Friday evening performance. “Before any note was given, we would all know that something was wrong and we had to go back home and study, fix it.”Eric Anderson Jr., 38, a voice teacher and music director who lives just outside of Boston, was visiting New York for the holiday when he saw the news about Mr. Sondheim. Almost immediately, he told his husband he needed to go for a walk.He ended up gravitating toward Times Square — and decided on a whim to go on something of a pilgrimage to Mr. Sondheim, visiting the Broadway theater named after him and then the Bernard B. Jacobs Theater on 45th Street, where the new revival of “Company” was set to begin at 8 p.m.He saw people standing in line hoping for a last-minute ticket, and decided to get one too.“Our industry and our art form owes everything to him,” Mr. Anderson said. “I teach him to all of my students, of course. He is the history of American musical theater in one person.”Matt Stevens and Sadiba Hasan contributed reporting. More

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      Stream These 7 Productions That Celebrate Stephen Sondheim’s Work

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      Here’s a guide to films, documentaries and other productions that provide insight into the composer-lyricist’s sly wit and melodic acumen.Stephen Sondheim, the composer and lyricist who died on Friday at age 91, had an unparalleled influence on contemporary theater. Revivals of two of his shows are currently onstage in New York — the gender-swapped version of “Company” on Broadway and the starry production of “Assassins” Off Broadway at the Classic Stage Company — and Steven Spielberg’s new film adaptation of “West Side Story” will be released on Dec. 10.But there are a few dozen ways to encounter Sondheim’s sly wit, melodic acumen and astonishing moral complexity from the comfort of your sofa. Not that he ever lets you get too comfortable. Unlike many of his peers, Sondheim has been served fairly well by film and video. Here are some of the best ways to watch the work of the man who gave us more to see.‘Original Cast Album: Company’Sondheim’s penetrating study of modern love and even more modern ambivalence is a classic. For a rich encounter with the material, try D.A. Pennebaker’s 1970 documentary, which details the contentious attempts to record the original cast album at the Church, a Columbia Records studio in Midtown Manhattan. A pleasure throughout and a useful insight into a communal creative process, the movie turns electric when the camera captures Elaine Stritch trying and failing to lay down the devastating track “The Ladies Who Lunch.”Stream it on the Criterion Channel.‘Gypsy’Though dinged at the time for casting Rosalind Russell as the stage monster Mama Rose — rather than Ethel Merman, who had created the role — Mervyn LeRoy’s 1962 movie offers a backstage pass to bygone forms of American entertainment: vaudeville and burlesque. Moving nimbly among moods and styles, Sondheim’s lyrics range from utterly innocent (“Little Lamb”) to tastily racy (“You Gotta Get a Gimmick”), with at least one number, “Rose’s Turn,” that suggests the radical revision of the musical that he would later attempt.Stream it on HBO Max; rent it on Vudu, YouTube, Apple TV, Amazon Prime Video and Google Play.‘Into the Woods’Bernadette Peters rehearsing with Sondheim in 1987 during the original cast recording of the Broadway musical “Into the Woods.”Oliver Morris/Getty ImagesEnjoy, if you must, Rob Marshall’s overblown 2014 adaptation of this fairy tale concatenation. But the 1987 version, recorded for PBS’s “American Playhouse” and available on Apple TV, is a superb example of pre-“Hamilton” performance capture, preserving the indelible performances of Bernadette Peters, Joanna Gleeson and Chip Zien. Children will listen, so watch it with yours. The first act, anyway. Or for a more modern take, try the 2010 version, recorded live in London’s Regent’s Park and streamable on Broadway HD, with Hannah Waddingham, of “Ted Lasso,” as the witch.Rent the 1987 version from Apple TV and Amazon Prime.Stream the 2010 version from Broadway HD.‘A Funny Thing Happened on the Way to the Forum’A work of impeccable silliness and absolute froth, the 1966 film version of this meringue-like musical, stitched together from a handful of Plautus comedies, stars Zero Mostel as a scheming servant and Jack Gilford as a gentler one, with the future Phantom Michael Crawford as the love-struck master. It’s available on several platforms. The songs are flimsy when compared with Sondheim’s later work, but they delight — from the assertiveness of “Comedy Tonight” to the cheekiness of “Everybody Ought to Have a Maid” and the breezy whimsy of “Lovely.”Stream it on Pluto TV and Tubi; rent it on YouTube, Apple TV, Amazon Prime Video, Google Play and Vudu.‘Sunday in the Park With George’An incomparable study of the profit and cost of artistic creation, this 1984 musical, loosely based on the life of Georges Seurat, was captured in 1986 with Mandy Patinkin as the pointillist painter and Peters as his muse, Dot. The filmic shades are muddied — a shame for an artist so obsessed with color and light. But Sondheim’s rigor and originality sound clear in songs like “Finishing the Hat,” “Children and Art” and “Move On.”Stream it on Apple TV.‘Take Me to the World: A Sondheim 90th Birthday Celebration’Audra McDonald, Meryl Streep and Christine Baranski celebrating Sondheim’s 90th birthday in April 2020.Broadway.comIf your preferred form of tribute involves a generous pour, a good cry and an invitation to sing along, lift your voice to this online offering, assembled last year and available in full on YouTube. Hosted by Raúl Esparza, its quality is uneven, a consequence of first-wave Zoom theater. But it still moves deftly across and through his six-decade career and offers performances by unmatched interpreters, including Patinkin (“Lesson #8” from “Sunday in the Park With George”), Donna Murphy (“Send in the Clowns” from “A Little Night Music”), Patti LuPone (“Anyone Can Whistle”), Bernadette Peters (“No One Is Alone” from “Into the Woods”) and the peerless triad of Audra McDonald, Christine Baranski and Meryl Streep (“The Ladies Who Lunch” from “Company”). Everybody rise? Why not?Stream it on YouTube. More

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      Praise for Stephen Sondheim at ‘Company’ and ‘Assassins'

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      “I would ask you to sit back and luxuriate in his extraordinary words and music,” the director John Doyle said before Friday’s performance of the “Assassins” revival.Hours after Stephen Sondheim’s death, the director of the Broadway revival of “Company” walked onstage before the curtain rose on Friday to acknowledge the news that many in the audience already knew but that some — judging by the murmurs that followed — had not yet heard.“Stephen Sondheim, so sadly, passed away in the early hours of this morning,” said the director, Marianne Elliott. “He was truly the greatest artist that we, in our lifetime, possibly will ever know.”Around the same time, 32 blocks downtown, the director of the Off Broadway musical, “Assassins,” walked onstage before the show with a similar mournful speech.“Today is a sad day for the American theater,” said the director, John Doyle. “Stephen Sondheim changed the face of the American musical, and we feel very blessed to be in this space at this time.”It was evidence of Sondheim’s long-lasting popularity that, on the day of his death, audience members lined up to see revivals for two of his musicals: “Company,” a Broadway production starring Patti LuPone and Katrina Lenk, and “Assassins,” about the people who killed or tried to kill American presidents. Both had been delayed by the pandemic.With the cast of “Company” standing onstage behind her at the Bernard B. Jacobs Theater, arms around one another’s shoulders, Elliott said that Sondheim’s death had been a shock to the production, whose members had gotten to know the composer and lyricist during the preparation for the revival. Even at 91 years old and with more than six decades of writing music and lyrics for Broadway behind him, Sondheim had taken an active role in the new run of the musical, which first premiered in 1970 and won six Tony Awards. The current production was a hit with critics when it debuted in London in 2019.“He didn’t need to do that,” Elliott said. “But he became the greatest enthusiast for it, and every single line of George Furth’s and every single lyric we talked about, we debated, we argued, we chatted, we laughed,” Elliott added, referring to the playwright.In this version, the central character, a bachelor with commitment issues, is played by a woman (Lenk). He had been supportive of the changes to the musical, Elliott said. “He really understood about art,” she said, “and he really understood about the now and why art should speak to the now.”Right up until his death, Sondheim was both a fairly active writer and theatergoer. Earlier this month, Sondheim had traveled to Manhattan from his home in Connecticut to see these productions himself, attending the opening night of “Assassins” at the Classic Stage Company on Nov. 14 and a preview of “Company” the next day. This week, Sondheim discussed his current project — his final musical — with The New York Times, saying, “What else would I do with my time but write?”Speaking to the audience at “Assassins,” Doyle urged the theatergoers to celebrate Sondheim’s work rather than grieve.“He would be curious if you sat here sadly tonight,” he said. “I would ask you to sit back, to luxuriate in his extraordinary words and music.” More

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      in Movies

      Stephen Sondheim Reflected on 'Company' and 'West Side Story' in Final Interview

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      In an interview on Sunday, the revered composer and lyricist, 91, contentedly discussed his shows running on Broadway and off, as well as a new movie about to be released.ROXBURY, Conn. — Stephen Sondheim stood by the gleaming piano in his study, surrounded by posters of international productions of his many famous musicals, and smiled as he inquired whether a visitor might be interested in hearing songs from a show he had been working on for years, but hadn’t finished yet.“And now would you like to hear the score?” he asked. Of course, the answer was yes. “You got some time?” he asked, before laughing, loudly, with a sense of mischief: “It’s from a show called ‘Fat Chance’!”That was Sunday afternoon, five days ago, when Mr. Sondheim, 91, had welcomed me to his longtime country house for a 90-minute interview with him and the theater director Marianne Elliott about a revival of “Company” that is now in previews on Broadway. It would turn out to be his final major interview.There was little indication that Mr. Sondheim, one of the greatest songwriters in the history of musical theater, was unwell. He was engaged and lucid, with strong opinions and playfully pugnacious, as with the tease about his long-gestating, unfinished final musical. At one moment he complained that his memory wasn’t as strong as it had been, but he was also telling anecdotes from a half-century earlier with ease.He was having a little trouble getting around — using a cane, seeking assistance to get in and out of chairs, and in obvious pain when walking — which he attributed to an injury. Asked about the state of his health, he answered by knocking on a wood table and saying, “Outside of my sprained ankle, OK.”Mr. Sondheim was applauded earlier this month at the first preview of a Broadway revival of his musical “Company,” at the Bernard B. Jacobs Theater.Jeenah Moon for The New York TimesHe was busy right until the end. On Nov. 14 he attended the opening of an Off Broadway revival of his musical “Assassins,” directed by John Doyle at Classic Stage Company. The next night he went to the first post-shutdown preview for the Broadway revival of “Company” — a reimagined production, opening Dec. 9, in which the protagonist, who has traditionally been played by a man, is now played by a woman. And just this week, two days before he died, he did a doubleheader, seeing a Wednesday matinee of “Is This a Room” and an evening performance of “Dana H.,” two short documentary plays on Broadway.“I can’t wait,” he said as he anticipated seeing those shows. “I can smell both of those and how much I’m going to love them.”He was not inclined to make any grand pronouncements on the state of Broadway. “I don’t take overviews — I never have taken overviews,” he said. “Whither Broadway? I don’t answer the question. Who knows. I don’t really care. That’s the future. Whatever happens will happen.”One thing he was hoping would happen: one more musical. For years he had been collaborating with the playwright David Ives and the director Joe Mantello on a new musical, most recently titled “Square One,” adapted from two movies directed by Luis Buñuel.“The first act is based on ‘The Discreet Charm of the Bourgeoisie,’ and the second act is based on ‘The Exterminating Angel,’ ” he explained during the interview. “I don’t know if I should give the so-called plot away, but the first act is a group of people trying to find a place to have dinner, and they run into all kinds of strange and surreal things, and in the second act, they find a place to have dinner, but they can’t get out.”Asked if he had any sense when it might be finished, Mr. Sondheim said, “No.”Why did he hope to keep working when he could just bask in appreciation?“What else am I going to do?” he asked. “I’m too old now to do a lot of traveling, I’m sorry to say. What else would I do with my time but write?”And did he write daily in his final weeks? “No, I’m a procrastinator,” he said. “I need a collaborator who pushes me, who gets impatient.”When it was pointed out that he had been a procrastinator throughout his career, and that it had seemed to work for him, he said, “Yes, I have. Yeah, I think forever. Not when I was a hungry teenager — when I wanted so much to have a show done, I don’t think I was a procrastinator then. But once I had a show done, I think part of me got lazy.”But with his shows running on Broadway and off, and a major film adaptation of “West Side Story” about to be released, Mr. Sondheim was clearly feeling good about the current reception of his work.In the new production of “Company,” the protagonist, who has traditionally been played by a man, is played by a woman, Katrina Lenk, center. Sara Krulwich/The New York TimesHe confirmed his longstanding lack of interest in movie musicals, saying, “Growing up, I was a huge fan of movies, and the only genre that I wasn’t a fan of was musicals — I loved the songs, but not the musicals.”But he was obviously delighted about the Steven Spielberg-directed film adaptation of “West Side Story,” a musical for which Mr. Sondheim wrote the lyrics, that is scheduled to be released next month. “I think it’s just great,” he said. He added, “The great thing about it is people who think they know the musical are going to have surprises.”He was looking forward to even more in the months to come: a new production of “Into the Woods,” for which Mr. Sondheim wrote the music and lyrics, is scheduled to be staged by the Encores! program at New York City Center next May. Also, Mr. Sondheim revealed, New York Theater Workshop is hoping to stage an Off Broadway revival of “Merrily We Roll Along,” for which he wrote the music and lyrics, directed by Maria Friedman, who has previously directed well received productions in London and Boston.Asked which of his shows he’d most like to see revived next, he appeared stumped. “What would I like to see again that I haven’t seen in a while? I’d have to think about it, because an awful lot of the shows I’ve been a writer of have been done in the last few years.” He added, “I’ve been lucky. I’ve had good revivals of the shows that I like.” More

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      in Theater

      Stephen Sondheim Tributes Pour In From Stars

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      Audra McDonald, Bernadette Peters, Andrew Lloyd Webber and others mourned and celebrated the essential composer and lyricist, who died at 91.Passionate tributes to Stephen Sondheim came quickly as the news of his death reached the theater world and beyond on Friday. Comparisons to Shakespeare were invoked more than once; so was appreciation for his tough-love feedback to those who interpreted his songs.Because the Pulitzer-Prize-winning composer of such beloved shows as “Sunday in the Park With George” and “Sweeney Todd” was known for his wit and wordplay, writers who stick to the page, not the stage, weighed in with admiration as well. (The pop tunesmith Jack Antonoff did, too.) And, given how often Sondheim songs traded in wistfulness and melancholy, the composer’s own lyrics were used to celebrate and remember him, too. Here is a sampling of responses.InterpretersI’m weirdly numb and super-emotional all at the same time. I can’t quite process what the world (especially the theatrical world) looks like without him. He was a giant, he was a genius, he was a legend, he was wickedly funny, he was wildly supportive but bluntly honest, and he was one of the wisest, toughest, most profound mentor/teachers I’ve ever known. I will miss him terribly. AUDRA McDONALDEven in a time so full of loss, this news feels like a unique punch to the heart. Which is appropriate, I guess, given that is exactly how his music always affected me. What do you say when the ocean goes away, or when a mountain disappears? Steve was that elemental and irreplaceable a part of my career and my understanding of art and life. And I’m surely not alone in that feeling. I don’t really have the words. Steve would. MICHAEL CERVERISHe was like Shakespeare, and what a privilege to be able to say, “Steve, what did you mean when you wrote that?” You could get it right from the horse’s mouth. I always say, he gave me so much to sing about. BERNADETTE PETERSTake a walk in the words and music that he left us. Walk in privacy, walk with a friend, put it on at different times in your life. Listen to it, sometimes listen more than once because the simplicity with which he expresses the most complicated human emotions — he’s able to do it in a way that once you hear it, it’s unforgettable. He was simply one of our greatest teachers. MANDY PATINKINHow I cherished his ambivalences! Once, after the final dress rehearsal for “Do I Hear a Waltz?” Sondheim stood in front of the entire company and crew. He suddenly noticed me, and I said “Hello!” and he burst out, “Oh, hello! You were wonderful, most of the time.” That comma, that breadth of affirmation and doubt, is what makes him so astounding, and so wonderful to sing — most of the time. No, all of the time. MELISSA ERRICOThere is no way to overestimate Steve’s impact on my life and work. He was like my second father. I honestly can’t imagine a life without him in it. LONNY PRICEAdmirersFellow theater writersWriters from all cornersPaying tribute with his own wordsThe theater has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky. CAMERON MACKINTOSH More