Sondheim News August 2009

SONDHEIM

ISSN 1470-2401 August 2009 Number 52

the magazine

from the Stephen Sondheim Society

OPENING DOORS?

Š David Ovenden ,Descripta.com

Michael Peavoy named the Stephen Sondheim Society Student Performer of the Year

2

Sondheim - The Magazine

SUMMER 2009 CONTENTS 2

Chairman’s Welcome

4

Society notes, Website

18 Photos from SSSSPOTY 20 Maria Friedman Review

updates

21 SSSSPOTY Review

5

Competition

22 Stephen Sondheim Society

6

Ah, But Underneath…

Student Performer of the

8

Road Show CD on Front Row

Year

10 ALNM, 2010 events

28 Something I’m Not

12 Daria Begley’s American

29 Sweeney Todd Review,

Perspective

Follies Quiz

15 Nigel Richards’ CD, Garden Party

31 Society Report & Accounts

16 Putting It Together Review

32 Singing Sondheim

17 Desert Island Sondheim

35 Show Listings

SONDHEIM SOCIETY MAGAZINE ACTING EDITOR Mandy Dixon ajs_dixon@yahoo.co.uk TECHNICAL EDITOR Nina Douglas nina.douglas@gmail.com CHAIRMAN Mandy Dixon ajs_dixon@yahoo.co.uk ADMINISTRATOR Lynne Chapman sondheimsociety@sondheim.org TREASURER David Oldcorn david.oldcorn@home.3b.co.uk MEDIA TEAM Peter Auker peter_auker@hotmail.com Matti Aijala matti.aijala@bigfoot.com MANAGEMENT TEAM MEMBERS Quay Chu quaychu@hotmail.com Doug Pinchin doug.pinchin@btinternet.com David Ovenden david.ovenden@descripta.com

CONTRIBUTORS Peter Auker, Daria Begley, Lucy Beresford, Lynne Chapman, quay Chu, Mandy Dixon, Cynthia Erivo, Piers Ford, Adrian Grove, Alyn Hawke, Aaron Lee Lambert, David Lardi, Francesca Leyland, Lisa Lynch, Elana Martin, Oliver McCarthy, Philip Nevitsky, David Oldcorn, David Ovenden, Amy Payne, Michael Peavoy, Doug Pinchin, Philip Raymond, Brett Lee Roberts, Edward Seckerson, Emma Shane, James Smoker, Eva Spevack, Julia Stafford Northcote, Janet Stevens, Hara Yannas PHOTOGRAPHS Pat & David Oldcorn, David Ovenden (descripta.com), MEMBERSHIP ENQUIRIES All general enquiries should be addressed to the Society’s administrator: Lynne Chapman, 265 Wollaton Vale, Wollaton, Nottingham NG8 2PX Tel: 0115 928 1613 email: sondheimsocety@sondheim.org web: www.sondheim.org MAGAZINE ENQUIRIES & CONTRIBUTIONS Mandy Dixon, c/o 265 Wollaton Vale, Wollaton, Nottingham NG8 2PX

Every effort has been made to ensure the accuracy of the information in this magazine. We cannot accept responsibility for any errors. Unless otherwise stated, any views or opinions expressed in the magazine are those of the authors and not necessarily the views of the Stephen Sondheim Society.

WELCOME FROM THE CHAIRMAN & ACTING EDITOR Welcome to the latest edition of the Stephen Sondheim Society magazine. As Chairman (and Acting Editor), and on behalf of the Management Team I have to offer my profound and sincere apologies for the lateness of this magazine. We are very aware that we have let our fellow members down by not producing this much earlier, as promised. In our defence I can only say that we are neither happy nor complacent about this. We had hoped to produce an issue before the Student Performer of the Year competition. Unfortunately getting everything together for the competition took all the available energies and time of our Management Team (most of us have full time jobs). Many of our media team were also heavily involved in launching the new website. After that a mixture of extra work on the ‘day jobs’, domestic issues and holidays ate away at our collective ability to produce a magazine before this date. We have put plans in place to ensure that we are better able to cope in future. We have recruited a new member of the team, David Ovenden, and have the possibility of at least one more member joining us. We will have a sub-committee looking after next year’s student event which will not merely consist of the Management Team. We have also finished the first stage of the new web site so that should consume less of our energies. Our next newsletter should come out in October with the next full magazine coming out before Christmas.

I hope you will agree with me that this magazine is, at least, stuffed full of goodies. Just to mention a few of them, we have details of, a member’s review of and a new member’s appreciation of the Stephen Sondheim Society Student Performer of the Year (SSSSPOTY), held at the end of May. Everyone who came to see it

3

Sondheim - The Magazine

was enthusiastic about this, our third competition. We have included appreciations from some of the students who were involved.

The success of this show is due to the generosity and kind professionalism of all those Society members, friends of the Society and others who worked so generously and tirelessly on our behalf. Our thanks especially go to Stephen Sondheim, Richard Morris and Doug Pinchin of Richard Douglas Productions, Producers; Bill Deamer, Director and Nigel Lilley, Musical Director: Keith and Margaret Stanley for yet again donating the £1000 prize; Nicholas Allott, Lady Jo McDonald and The Cameron Mackintosh Foundation for supporting us; Rosemary Ashe: for compering the show, Edward Seckerson for cojudging the heats with Gordon Griffin and for being the chairman of the judges on the day: fellow judges David Babani, Richard Balcome; Kim Criswell and Stuart Piper; Neil Marcus, Tim Saward and all at MMD; Margot Hayhoe, Company Manager; Andrew Killian, Stage Manager; Trevor Defferd and James Church for providing the piano accompaniment at the heats; David Ovenden for taking the show photographs; Rainier Koeners, and all at the Playhouse for making us so welcome; Sam Joseph of Samuel Joseph Entertainment and Media Group for our publicity and Daniel Page our logo designer.

Thanks are also due to Herman Patava plus Hugh Gould, Michael Darling and David Oldcorn for distribution of the flyers. Last but by no means least I need to thank Lynne and the rest of the management team for all their hard work and all our members who were able to come to support so enthusiastically the next generation of Sondheim performers.

Richard and Doug are now hard at work producing their latest gala, Broadway to West End - By Special Arrangement. This takes place on Sunday 4th October 2009 at the Theatre Royal, Drury Lane. The winner of the 2009 SSSSPOTY, Michael Peavoy, is performing at the Gala among such luminaries as Daniel

Evans, Kim Criswell, Alison Jiear and Alistair McGowan. The gala is to celebrate the orchestrations of William David Brohn, and is a fundraiser for a children’s cancer charity.

The good news for Society members is that we can get a 15% discount on ticket prizes when booking at SEE tickets and a free programme worth £10. All you need to do is to quote “CS Offer.” Pleases note the special offer only open to Society members.

We have now formally launched our new public and members’ website. I would like to thank Peter Auker and Matti Aijala for their creativity and hard work on this site.

As someone who is currently studying website development I know how much good work and planning has gone into this re-launch. We are still in the middle of some re-development in particular of the public site, thank you to all our members who have sent us their thoughts on this, please keep them rolling in. In the magazine there is an article giving the answers to some frequently asked questions about the website plus some exciting news on an international section of the website.

I must also give my thanks to out outgoing web team - John Molloy and Damon Jones. They took what was a few web pages set up by Lynne and transformed them into an interesting and extensive website full of Sondheim content. Even when they emigrated to Florida as IT professionals they continued to look after the site for us giving generously of their time as well as contributing to the running costs of the site. Thank you both.

Very many thanks are also due to Pat and David Oldcorn for once again producing their splendid Garden Party in Windsor. Also thanks to all the singers and our pianists, details in the magazine. Although I was not able to attend this year I know that once again everyone had a marvellous time, great food, good company and wonderful singers. We hope we can prevail upon David and Pat to host a similar party next year.

However, whilst their elder son remains very ill it is difficult for

them to make a firm commitment, and organising the event takes its toll. It would make an enormous difference if the able bodied who attend were able to clear away all the debris, move the garden furniture back to the huts at the far end of the garden and assist with dismantling the marquees.

Given this commitment beforehand, we think David and Pat can be persuaded to “have another go”!

I can report another new development for the Society which will put the Society on a sound legal footing and enable us to start looking for more sponsorship for events such as SSSSPOTY as well as a home for our Archive collection. We are in the process of forming the Society into a limited guarantee company. This means that the Society will have a full legal entity; at present we are only a loosely put together association. This will give better legal protection both to us as members and to the management team, some of whom will now be formally known as Directors, but will all still continue to be unpaid! Our accounts will be formally reported to Companies House once a year, another chore for our hard working treasurer David Oldcorn and all members will be invited to an annual AGM. We propose to hold the first one in March.

At the AGM the management team will be formed by voting and members will have an opportunity to put forward proposals and questions.

The only cost to the Society for this change is the registration fee (about £25) and an annual accounts submission fee, currently £15. Our ultimate aim is also to develop a charitable arm which will be able to apply for grants to house the Peter Wood Sondheim Society collection and our other growing archive items.

While on the subject of money I would like to assure members that the subscription rates for 2010, due this December will not be increased.

Other items in the magazine include our regular spot by Daria, thanks to her for continuing to update us on events across the ‘pond’, and a and a full listing of professional and amateur

4

Sondheim - The Magazine

productions taking place in the UK in the next few weeks.

We also have show reviews by member David Lardi.

Something I’m Not by Lucy Beresford is an intriguing article on how she came to base her debut novel on a Sondheim musical, as well the influence of Sondheim on her work as a psychotherapist.

We have also been lucky enough to be able to reprint an article, Singing Sondheim, written

by Piers Ford for The Singer, plus a piece from BBC R4’s Front Row Just for fun we have reproduced the Follies Quiz which was on our website, together with answers. We asked members of the Management Team to give us some thoughts on how they came to know Sondheim; you can see the results together with their desert island disc selections plus selections from other members.

We would love to hear your desert island discs and how you came to be Sondheim fans.

Please send these in for publication in a later newsletter or magazine.

I am standing in as Acting Editor for the moment and would be glad to hear from you. Please let me know what you think about the magazine, Society or other Sondheim thoughts. If you would like your letter, or part of it published, please mark “For Publication.” We will take this to mean in the magazine, or newsletter and on the website.

My thanks as usual to all our contributors including David Ovenden for all the wonderful SSSPOTY photos and Lynne and Nina who do all the hard work in putting together the magazine.

Very best wishes to all.

Mandy Dixon

SOCIETY NOTES As you know, things have been very quiet for some time now. I am happy to report that we have had a very productive team meeting, a new team member has joined and we have a great many plans. Much of this year has been taken up with the organisation of

The Stephen Sondheim Society Student Performer of the Year; you can read all about it and relive the event if you were there, or if not, wish you had been!!

Congratulations to our worthy winner, Michael Peavoy, and many, many thanks to everyone who made it happen. Also congratulations to Olly Ashmore who wrote the winning MMD song “Wake Up TV” and won the Stiles & Drewe prize.

Despite the poor weather, Society members had a terrific time at this year’s Garden Party, and as ever I’d like to thank Pat & David Oldcorn personally and on your behalf for their hospitality, kindness and hard work. Again, if you were there you’ll know what I mean and if you weren’t, then you missed something.

As you’ll see from the article, 2010 is shaping up to be a very busy year and I am told that there are a lot more surprises to expect along the way. We will of course have trips to some of the events.

As ever, if you know of any plans do let me know so we can give them publicity. Assuming that we have enough support, we will organise Society trips to as many shows as we can. We also have plans for an event of our own next year.

One of the highlights of next year is bound to be in Paris with Le Chatelet’s production of A Little Night Music starring Leslie Caron & Kristen Scott Thomas. If it is not too problematic to organise (nor to late), we are considering a Society trip to see it (just the show, not the travel etc). The show runs from Monday February 15th – Saturday February 20th. If you’d be interested in going then please let me know urgently, letting me know if there any dates that you couldn’t do, so I can gauge likely interest and numbers.

I am thrilled that I have been able to persuade the editor of Front Row to allow us to reproduce the programme’s discussion of Road Show and Bounce CDs. To complement that I have managed to buy a few copies of the new Road Show CD at an advantageous price and you’ll find it listed on the new order

form. Yet another of the perks of being a Stephen Sondheim Society member! If you do want one then I urge you to get your order in quickly as we do only have a very limited number.

We have worked hard in sourcing a huge amount of material for this edition; I hope that you like it and that it goes some little way to making up for the lack of magazines this year.

WEBSITE FAQs How do I sign in to the ‘members only’ area?

Select “Members Only” from the Navigation Bar running along the top of the page. Then type the username and password you were provided with into the box which appears. (Remember that the username and password are case sensitive – they should be entirely in lower case). Please note that the password to access this area will be changed at end of each calendar year and once you have renewed your subscription you will be give a new one. Click “Sign In” and you will see a picture of a padlock. Clicking on the padlock will take you into the ‘members only’ site.

How do sign up for the discussion board?

When we redesigned the discussion board we had to start completely from scratch and could not keep anything from the old board. This means that all users will need to create a new account, even if they had an account on the old board. Detailed instructions for this, with screenshots, are on the homepage of the website, but, briefly – click on “Discussion Board”. Then select any topic and click “Post a Reply” (you don’t need to intend to post a reply, this is just the quickest route to creating an account.) You will then be given the option either to “sign in” or “sign up”. Click “sign up” and follow the instructions on the screen. It’s quite easy!

5

Sondheim - The Magazine

Why do I have to give my age when signing up for the discussion board?

This is nothing to do with The Sondheim Society, but is part of the legal terms and conditions of the discussion board “engine” we are using, which is American. It’s simply to verify that you are over 13. You can select the option not to display your age, or indeed you could even lie about your age!

Even when I put the correct username and password in, I still cannot access the members only area or discussion board. What’s going on?

This error occurs when you do not have cookies enabled on your computer. Assuming you’re using Internet Explorer, go to Tools – Internet Options. Then click the “Privacy” tab. Set the little slider control to “Low” and then click OK. Close Internet Explorer, then re-open to try again – you should find it works now. If it doesn’t, or if you’re using a browser other than Internet Explorer, please email webmaster@sondheim.org and we’ll do our best to help.

Where do I find details of current and past productions?

Click “News” in the Navigation Bar running along the top of the page. A new screen will open which has three panels. Click the link in the right hand panel and you will be able to see details of productions. Please note these details are provided by Josef Weinberger and are assumed to be correct. However, you are strongly advised to check with the company concerned before you go to see a show, as sometimes performances don’t take place for one reason or another.

My question isn’t covered here.

What can I do?

Email webmaster@sondheim.org with your question.

Peter Auker Media Team

BARCELONA! A new section for international Sondheim productions

Some very exciting news: we are working on a new section for the website devoted to productions of Mr Sondheim’s works all over the world.

I like the scrolling news headlines – This section will include information, but how do I view a news article? reviews and multimedia from many Simply click on the headline which foreign language productions. interests you and the relevant page We are hoping to develop a will open containing the full article. network of correspondents from different countries writing about local Can I search the website for news productions and if anyone would be and other items? interested in doing that, please If you scroll to the bottom of the contact Matti Aijala by email homepage you will find a search box international@sondheim.org to hear which will enable you to search the more. At the moment we have a page site and indeed the entire web if you on Finnish productions (as that wish. Results are provided in a happens to be my native tongue) and Google-style display and you can then among other things have a short click on the one you want and it will video from a recent production of take you straight there.

Funny Thing Happened on a Way to How can I change my password? the Forum in Finnish for all of you to Where can I find an article which The Members Only password is a enjoy. appeared on the old website? generic one and cannot be changed We have also sourced video We recognise that there was a lot of by users. Please note that the material in various other languages material on the old website which is password to access this area will be and will keep adding pages for each changed at end of each calendar year interesting and valuable – much of it country shortly. not available elsewhere. We are still in and once you have renewed your Here’s to Sondheim in many the process of finding the best way to different languages! subscription you will be given a new make this material available again. In one. However, you can change your discussion board password by signing the meantime please email Matti Aijala archive@sondheim.org with any into the board, click your username Media Team (top right hand corner), then click “Edit requests.

Profile”. Click the “Change Password” tab then follow the instructions on the I have a suggestion to improve the website. Where can I send it? screen.

Congratulations to Elisabeth Atkins, We’re always delighted to receive winner of the last Sondheim News feedback on the website – even The old discussion board showed COMPETITION competition.

Elisabeth wins a CD of all the recent topics at the top – can critical comments are welcome. If you Boscos Endins, the Catalan version of have a suggestion or comment there this one?

Into the Woods, will be on its way to Yes definitely. It’s a good way to keep are three ways to choose from. Either her soon. track of developing discussions. When email us directly on This month’s competition prize is a you open the Discussion Board page administrator@sondheim.org, or use selection of Sondheim memorabilia; the form on the “Contact Us” page you will see the words “normal view” we’ll make sure it’s material you don’t (main site) or the form on the and “recent topics” in the top right already have!

To enter either e-mail or hand side of the screen. Click “recent “Feedback” page (members only write to Lynne at the usual address by site). topics” and the screen will change to September 20th. show the topics with the most recent at the top.

6

Sondheim - The Magazine

AH, BUT UNDERNEATH…

The Team tell us how their passion for Sondheim began

Left to right: Lynne Chapman, Doug Pinchin, Peter Auker, Mandy Dixon, Matti Aijala, David Oldcorn

Mandy Dixon

Lynne Chapman

My first contact with Stephen Sondheim's work was on a Sunday afternoon when as a young teenager I sat in front of the TV mesmerised by the story of Gypsy, the ugly duckling who became a beautiful stripper, and her monster of a mother. I was hooked on the wonderful lyrics although not at the time aware of who wrote the words. It has been one of my favourite shows ever since that day. Fast forward several years later and as a student living in London I went to see Side by Side at the Mermaid and really discovered the work of SS not to mention Messrs Kernan and Sherrin as well as Julie and Millie. I then set out on a mission of discovery to borrow from the library every Sondheim tape or record and to see as many shows as I could find, (and afford!).

Since then finances have improved. I have been fortunate to be able to see some shows on Broadway, including both the recent productions of Gypsy, the Patti LuPone version being in my opinion somewhat superior to the Bernadette Peters one. I was also very lucky to see the first preview in Chicago of Bounce (now Road Show). I enjoyed this enormously and am very much looking forward to seeing Road Show when it eventually comes here.

Some eight years ago I found out about The Stephen Sondheim Society and was made very welcome by everyone I met. It has been wonderful to be able to attend shows, master-classes, parties and other events in the company of like-minded enthusiasts. For the last three and a half years I have been very privileged and honoured to be the chairman of the Society.

The first LP I owned was West Side Story which I got for my 11th birthday along with a Dansette record player. I can still remember the special smell that had.

As I got older I found out, through my parents’ love for music, especially the Ella Fitzgerald Songbook series, that people actually wrote these wonderful melodies and words and I was hooked on finding out more. I started to read lots of obscure books about songwriters, collect LPs and go to as many shows as I could, somewhat limiting as I lived in Nottingham!

Once I qualified as a librarian and moved to London in 1972 getting to shows was a lot easier.

My epiphany came, as did so many others’, with Side By Side By Sondheim. My newish boyfriend Martyn (he didn’t know what he was starting either musically or maritally!!), took me for my birthday on a hot summer’s day to the Mermaid Theatre, in our convertible Triumph Herald. I was entranced by the words and music I heard and in true librarian tradition started researching. We lived in Hendon and there used to be a wonderful secondhand record shop on the main road (anyone remember it?). I had no idea what I was looking for but my eye was caught by an LP with Scrabble on the front. I couldn’t believe when I discovered it was a Sondheim LP. That was the start.

Martyn was again responsible, this time for my Society membership as he spotted an ad in the Leicester Haymarket programme for Pacific Overtures (the first time round). I got a dig in the ribs and he uttered those magical words: “Here, did you know there was a Stephen Sondheim Society?” I honestly think if he could turn back time and know what it

Chairman

Adminstrator

7

Sondheim - The Magazine

would lead to, he’d have kept his mouth firmly shut.

But he didn’t, I joined and the rest is history. I never in my wildest dreams imagined I could have had such a wonderful experience and I want to thank Steve Aubrey for giving me this chance all those years ago, despite his concerns that no-one living outside London could do the job.

I also want to thank Martyn who has been a wonderful support (and catalyst) despite having little personal interest. I know he’s not as immune as he pretends to be though, as twice this weekend he has copied my daughter Sarah’s and my habit of quoting Sondheim lyrics at appropriate moments!!

One day I’ll sit down and tot up exactly how many Sondheim productions I’ve seen and the distances I’ve travelled to see them!

David Oldcorn Treasurer

Being easily the eldest in the Management Team, my first visits to musicals occurred before most of the other members were born! It was seeing Ivor Novello in his penultimate show King’s Rhapsody in 1949 that started my love of musicals and the theatre generally.

During the fifties I saw Novello’s final show in 1951, followed by Kiss Me, Kate, Plain and Fancy, Kismet, Salad Days, Free As Air, Zulieka, Candide, West Side Story, various amateur shows such as The Student Prince and others that I now cannot recall. In the sixties I saw Frankie Howerd in Forum plus Lock Up Your Daughters and many plays at the Mermaid Theatre, which was very close to where I was working as a quantity surveyor at that time, on the Paternoster site near St Paul’s Cathedral. Also in the sixties I saw the revival of Novello’s The Dancing Years and numerous other musicals - too many to list.

Unfortunately I did not see another Sondheim Show until the mid-seventies brought us A Little Night Music and Side By Side By Sondheim, this also at the Mermaid, and then came another long gap for me until Follies in 1987 - but since then I have barely missed a Sondheim show, helped of course by joining the Society in 1993. I suppose a highlight for me has to be the good fortune that Mr Sondheim agreed to my suggestion, somewhat daringly made at the Society meeting he attended in 1995, that it was time he let the world see Saturday Night; I hope that he has never had cause to regret this.

As my love of musical theatre grew I endeavoured to see as many good works as possible, particularly in small theatres and theatre schools, and I have missed very few of Ian Marshall Fisher’s Lost Musicals.

Regrettably I cannot read music, nor do I have a singing voice, but currently I am trying to pass my love and acquired knowledge of musical theatre to members of The University of the Third Age in my local area; this is great fun and very rewarding.

Matti Aijala Media Team

Quite possibly my first encounter with a Sondheim show was a production of West Side Story back home in Finland many moons ago. I have always loved the theatre and have written plays, been on stage in Finland and also written lots of reviews in both my native Finnish and English. These of course include submissions for both The Sondheim Review and Sondheim News. Funny enough I can’t remember exactly when I first started to passionately study Sondheim and his shows, but the original London production of Follies was a true eye-opener and after that nothing was the same ever again. From then on I truly knew what love was! I do like other writers as well and have quite a wide appreciation of all things theatrical, but of course Mr Sondheim is something unique! I always very fondly remember the first time I had the great honour of meeting him with the Society at St Thomas’ Hospital back in 2000.

I now live in Cambridge and work in business development for the Scandinavian market at one of the largest IT software companies in the UK. I love being part of the new media team (and of course the Management Team to which I have belonged since 2002) and have enjoyed being a very dedicated Sondheim Society member since 1998.

Peter Auker Media Team

My enthusiasm for Stephen Sondheim dates back to 1980 when I saw one of the previews of Sweeney Todd, starring Denis Quilley and Sheila Hancock at the Theatre Royal, Drury Lane – in fact, this event sparked off a passion for musical theatre which continues to this day. I have a Masters degree in Music from Sheffield University, and was a music teacher for over 20 years. My 15 minutes of fame came in 1999 when I played the piano at the Royal Albert Hall and also appeared on national television in a documentary series called School Days. I’ve also been a guest lecturer at University of Westminster, where I led a seminar on Japanese Kabuki theatre.

No longer working in the classroom, I am now a database manager and analyst in a high school. In my spare time I run the Sweeney Todd Forum website.

I’m married with two grown-up daughters (one a student at St Andrews University and the other a school administrator) and live in Luton, Bedfordshire. I am delighted to be part of the Management Team of The Stephen Sondheim Society, serving on the Media Subcommittee which is currently tasked with redesigning the website and magazine.

8

Sondheim - The Magazine

Quay Chu Management team

I fell in love with Sondheim relatively recently, 2005 in fact. It was the year he turned 75 and there were a lot of his shows and tributes organised. I have always been passionate about the theatre and, since I returned to London full time from university, regularly book to see shows at the National Theatre, one of which was their production of A Funny Thing Happened on the Way to the Forum, and I absolutely loved it. My friend then told me about the Children Will Listen gala, which opened me up to many more of his songs. That was swiftly followed by the Union Theatre’s production of Side by Side by Sondheim and the Concert version of Company mounted at the Hackney Empire. Ever since then I have tried to catch as much Sondheim as possible.

I have spent my career working in the film industry and after seven years as a producer’s assistant, I am currently working as a freelance script reader for a variety of film producers/financiers. So my opinion counts. Apparently.

David Ovenden Management team

Whilst I had seen a few Stephen Sondheim shows, it was not until the 1987 London production of Follies that I really got hooked. It brought together a wonderful book, music, cast, design and direction and, in my opinion is the definitive production of this great musical.

From then on I sought out Sondheim productions wherever I could and tried to see everything in the West End and the London fringe. From time to time I would venture out to the regions and memorable evenings were spent in regional theatres, particularly the Leicester Haymarket, where Paul Kerryson worked through almost the entire canon, including my favourite production of Pacific Overtures.

I was also fortunate to be able to go to Broadway to see the premieres of Passion, Into the Woods, Putting it Together and major revivals of Follies, A Funny Thing Happened and Into the Woods.

The Donmar gave us some chamber productions, particularly a wonderful Company with Adrian Lester, and John Doyle at the Watermill gave a new lease of life to several shows which would be difficult for small companies to put on in harder economic times by having the actors play their own instruments.

I have to give honourable mention to the Menier Chocolate Factory who have put one some fantastic productions, including the recent Trevor Nunn’s beautiful A Little Night Music.

I have recently joined the management committee of the Stephen Sondheim Society which is a great privilege and I hope to help in any way that I can during what I think is an interesting and challenging time for the Society.

Road Show CD on BBC Radio 4’s Front Row On Friday July 31st, on the release of the album of Road Show, Matt Wolf talked to Mark Lawson about the show, comparing the changes between the Bounce and Road Show recordings. We have been given permission to reproduce that discussion here.

Mark Lawson: When a musical becomes a hit it’s common for a cast recording to be issued as a souvenir for those audiences who enjoyed it and a consolation for those who can’t get in. But a show by Stephen Sondheim, composer of Sweeney Todd and Follies, this month achieves the special status of achieving a second cast recording, despite being Sondheim’s biggest flop. Road Show, which had a brief run in New York last autumn, began 10 years ago as a piece called Wise Guys which failed to open, as announced, on Broadway and was subsequently rewritten and re-staged under the titles Gold! and then Bounce.

All four shows tell the story of Wilson and Addison Mizner, early 20th century American eccentrics and entrepreneurs.

As the CD of Road Show now joins the CD of Bounce on record store shelves, we asked the theatre critic Matt Wolf to compare them.

Looking back, does he have a sense of why this has proved such a problematic project for Stephen Sondheim?

Matt Wolf: I think a lot of it has to do with what happens when a creator gets absolutely obsessed about something, whatever the something is. In this case it’s the story of two brothers, Addison and Wilson Mizner, whose stories Stephen Sondheim came across in the early 50s in a story in the New Yorker magazine, and he was very interested as a young fledgling composer in doing something on them at that time. But there was talk that David Merrick, the legendary Broadway producer, was going to do his own version of the same story with, of all people, Irving Berlin doing the score and S. N. Behrman writing the book. That of course never happened, by which point Stephen Sondheim had moved on to other things and become the celebrated composer we know. But I think these ideas never leave artists who cling to them and in fact S has famously said of this show “I’ve never written this many shows to get to one show”. And they’re all variations on an obsessional theme which is ironic, since that’s what the show is about.

ML: Looking at these, we now have two cast recordings of a show that has never yet been a hit, which shows, I suppose, that there is perceived to be a market for anything from Sondheim. But it gives us a sense of the way in which shows are worked on and I’ve picked various examples.

“Gold!” – it’s one of the few that has survived

Sondheim - The Magazine

9

Answers to Follies quiz on page 29 1. Gloria Swanson, 2. The Girls Upstairs, 3. Alexis Smith, 4. The Story of Lucy and Jessie, 5. Phyllis, 6. Harold Hastings, 7. Neil Simon, 8. Beautiful Girls, 9. Winter Garden, 10. Oscar Strauss

through all four versions and indeed was the title of the Sondheim had said of the show in numerous interviews along the way that he wanted it to be bright second one. and jaunty and on the front foot, and musically he’s MW: I think that one of the interesting things compared it to some of the songs in Merrily We Roll about the various titles this show has had is that it illustrates, at whatever period we’re talking about, what Along, which have a real kind of clarity, they’re not the creators of the show - who of course include John overly intricate, they’re not doomy, they’re not art Weidman, the book writer – think the topic of the piece songs. But I think …as I say, the process of working out the show has dampened down something in that is. And with Gold! it was very much about a kind of American thirst, about the economic impulse that drives jaunty spirit of it. So now, it’s as if the topic of the the American landscape. Bounce suggests something piece isn’t the Mizners themselves, it’s can Sondheim and John Weidman ever bring this show to essentially jaunty and breezy, and we’ll move on to what I think the show now should be called. I don’t think completion. …In fact the last line of the entire piece is it should be called Road Show, I think there’s a better “sooner or later we’re bound to get it right”, and when I saw Road Show off Broadway, that line got a deeply final title for it. sympathetic laugh from the audience who would have ML: Go on, what?

MW: Well, I would call it Waste. Because that’s, it understood that this is as much Sondheim’s quest as the people in the piece. By the time you get to Road seems to me now, the theme of the show.

Show the language of the song includes an expletive It’s gone from being a show that celebrates a certain kind of American energy, however perverse, to which is interesting because that’s not in the previous versions - and it seems to be a song about what the acknowledging the depletion of that energy. And lyrics refer to as “being destined to fail”. And all maybe, without getting too psychoanalytical about it, that’s what happens to a great creator – and Sondheim reference to bounce had been replaced by references is a great creator – as he approaches his 80th birthday to waste.

ML: And the game may not be over yet. I next March. interviewed David Babani last year - of the Menier ML: Ah but if they call it Waste people might think it’s Chocolate Factory who have done very well with the musical version of Harley Granville-Barker’s play Sondheim including most recently A Little Night Music about British politics.

- and I said “It’s the natural one for you” and he said MW: Which is probably one of the plays that “well, we certainly are going to try to get it”, and who Stephen Sondheim would know very well, yes! knows? But we might expect there to be another ML: The song that…as I say, you get a sense of them working on it and moving things around. There’s a version of this?

MW: Absolutely. Sondheim is extraordinary for song called “Best Thing That Has Ever Happened” many reasons, not the least of which is that is his which moves from the first act to the second act and then in the final version there is just one act, there is no works are never finished. It’s not as if he puts a full interval. But that song, although it survives, it changes stop and that’s it and never looks at it again. I think it’s an ongoing quest, both in his career and in the subject quite dramatically between Bounce and Road Show. matter of this show.

MW: Absolutely. In fact one of the fascinating tensions of this whole sort of odyssey – and it is an © BBC 2009 odyssey; the history of Road Show is itself a road show - is that: is it a public or a private show? What level is it With thanks to Front Row, Mark Lawson, Matt Wolf pitched at? Earlier versions are very much embracing and the BBC the audience, they have these big ensemble numbers.

And “The Best Thing That Ever Happened To Me” in Bounce is a biggish number for the sort of womanising, conman and dope addict, very heterosexual Wilson Mizner – one of the brothers - and his lady at the time.

By the time you get to Road Show, the exact same title is a very private, intimate number for his closeted, homosexual brother Addison, sung between Addison and his male lover Hollis.

ML: It shows what a brutal game of attrition this is that at one point one of the songs that goes was a title song. You’d think that a title song might think it’s going to survive but it doesn’t make it to Road Show. Just to give an example of a song that goes completely is that number “Bounce”.

MW: I really love that song actually, and listening to it last night, it’s extremely bouncy.

10

Sondheim - The Magazine

A LITTLE NIGHT MUSIC Théâtre du Châtelet, Paris Paris is about to experience one of the major works of body of work which has revolutionised musical theatre. that genius of musical theatre, Stephen Sondheim We see all the inventiveness, the richness, the that same Sondheim of whom the French really know only sophistication, but also the clarity of Sondheim's vision in A his very first contribution to the art of the musical, the lyrics Little Night Music, that proof of affection and gratitude which of West Side Story. he sends to a far-off but nonetheless very familiar Europe; in A Little Night Music is the first of his pieces to display its merry-go-round of characters wreathed in the heady both the uniqueness of his style and the scope of his scent of eroticism and caught up in the violent emotions of ambition. One of the most important aspects of his work is frustration or of gratified desire. that he provides both music and lyrics - he is not only a great A great evening, certainly - one of those which we allow composer but also a lyricist of supreme refinement, who to end unwillingly, even if Stephen Sondheim is not one of spins words which fit his music so well that translating them those composers who sends his audiences home whistling a into another tongue appears simply impossible. This is tune from the show. And yet… Sondheim is a man of certainly true of A Little Night Music, adapted in 1972 by paradoxes. He has both endured many flops and basked in Sondheim and his librettist Hugh Wheeler from Ingmar the adulation of his peers and of a community of aficionados.

Bergman's 1955 film Smiles of a Summer Night. The story is Here, among a succession of wonderful melodies, you can superficially a comedy of erotic manners, which nonetheless hear an authentic "hit". Frank Sinatra was the first of many to poses profound questions concerning the whirligig of love, seize on "Send In The Clowns"; a song which by itself would the anguish which results from our inability to communicate have assured Sondheim's immortality. with one another and the melancholy brought on by the passing of time. All these are themes which recur throughout This article originally appeared in French on Châtelet’s his oeuvre and contribute to the utter distinctiveness of a website. It was translated for us by Janet Stevens.

WELL, MAYBE NEXT YEAR… Plans for 2010 to mark Stephen Sondheim’s 80th birthday on March 22nd This will be a regular section of the magazine for the coming year. If you know of anything that isn’t listed, do let us know (sondheimsociety@sondheim.org) so we can add it to the ever-growing list.

This list doesn’t include amateur and pro-am shows as they will be listed in the magazine elsewhere during the year, but currently we know of 75 licensed for 2010.

UK EVENTS Date

Title

Who

March

Marry Me A Little

Everyman Theatre

March - April

Anyone Can Whistle

Primavera Productions

Jermyn Street Theatre, London

Sun April 4th 7.30 pm

Sondheim 80th Birthday Concert

Royal Philharmonic Orchestra + special guests

Royal & Derngate, Northampton

Royal Liverpool Philharmonic Orchestra conducted

by Carl Davis

Liverpool Philharmonic Hall

Sat April 10th 7.30pm

Side by Side: A tribute to Stephen Sondheim in his 80th birthday year

Venue Everyman Theatre studio, Cheltenham

Sun April 11th

Sondheim 80th Birthday Gala

Richard Douglas Productions

London Palladium

July - Sept

Into The Woods

Open Air Theatre

Open Air Theatre, Regent's Park, London

No date confirmed

Merrily We Roll Along

Paul Kerryson, director

Curve, Leicester

Company

Daniel Evans, director and actor

Crucible, Sheffield

No date confirmed No date confirmed

Sweeney Todd

Dundee

2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010…

2010…

11

Sondheim - The Magazine

EUROPEAN EVENTS

Date Title Who 10 concerts in Scandinavia and one in Denmark including: th

Venue

No date confirmed

Sondheim 80 Birthday Concert

Varmlands Opera

Tivoli, Copenhagen

No date confirmed

Sondheim 80th Birthday Concert

Malmo Opera

Norwegian radio & TV

No date confirmed

Sondheim 80 Birthday Concert

Norlands Opera

Swedish radio & TV

No date confirmed

Sondheim 80th Birthday Concert

No date confirmed

Sondheim 80th Birthday Concert

Metropole Orchestra conducted by Jan Stulen

Holland Nederlands TV & radio

A Little Night Music

Actors include Kristin Scott Thomas and Leslie Caron

Théâtre du Châtelet, Paris

th

Mon Feb 15th – Sat Feb th 20 Opens Fri th February 19 Opens Wed April 28th, runs til June No date confirmed

US EVENTS

Herning Kongrescenter, Stockholm

Somarnattens Leende (A Little Night Music)

Stadsteater, Stockholm

Sweeney Todd

Odense Theatre, Denmark

Sweeney Todd

Dramaten, Stockholm

Date

Title

Thurs March 4th

An Intimate Exchange with the "Master of the Musical”

Mon March 22nd

2010 Spring Gala: Sondheim 80.

Roundabout Theatre Company, fundraising gala

To be confirmed

Anyone Can Whistle concert version

Encores!

City Center, New York

NSO Pops: Marvin Hamlisch, conductor

Kennedy Center, Washington DC

Thurs April th 8 – Sun th April 11 Thurs May 6th – Sat May th 8

Sondheim at 80

Who Stephen Sondheim talks about the state of American musical theater and reflections on his own creative process, followed by audience Q & A

Venue Harris Theater, Chicago, IL

Sat July 31

Sondheim 80th Birthday Celebration

Patti LuPone, Michael Cerveris, George Hearn; Paul Gemignani, conductor; Lonny Price, director

Ravinia Festival Pavilion, Ravinia IL

No date confirmed

Liaisons: Re-Imagining Sondheim from the Piano 3-concert series featuring the work of 30 composers creating solo piano pieces based on the music of Sondheim. Currently in development, the project includes artists ranging from Milton Babbitt and William Bolcom to Steve Reich and Daniel Bernard Roumain

Anthony de Mare

The Merkin Concert Hall at Kaufman Center, New York

st

2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010… 2010…

12

Sondheim - The Magazine

DARIA BEGLEY’S AMERICAN PERSPECTIVE West Side Story, which opened on March 19th (previews from February 23rd), has settled in to a terrific run at the Palace Theatre. Along with its $15 million advance tickets sales, the revival is continually among the top earners on Broadway and has broken box office records at the theater. The producers have announced that a national tour will be launched in the fall of 2010, though no casting or venues have been mentioned. The cast album of the revival was recorded on April 6th for Sony Masterworks and was released on June 2nd. The single CD is produced by David Caddick and David Lai, and the music supervisor/music director is Patrick Vaccariello. Alex Miller, general manager and senior vice president of Sony Masterworks, said on the company’s website: “To have the opportunity to produce the new Broadway cast recording of the great American classic, West Side Story, is truly an honor for Sony Masterworks.

That this revival is so relevant, powerful and electrifying today, after more than half a century, only confirms the greatness of West Side Story which has been part of our label’s history since 1957. The new production and recording, which features a full 30piece orchestra performing the original orchestrations, will introduce a new generation to the show, and we are proud to be part of it.”

The revival received four Tony Award nominations, including “Best Revival of a Musical”, (it lost to Hair,) “Best Performance By A Leading Actress In A Musical” for Josefina Scaglione (who lost to Alice Ripley in Next to Normal) and “Best Lighting Design of a Musical” for Howell Binkley, who lost to Rick Fisher (Billy Elliot: The Musical.) However Karen Olivo did win “Best Performance by a Featured Actress in a Musical” for the show.

Two glaring nomination omissions were Arthur Laurents for his direction and Matt Cavanaugh for Lead Actor in a Musical.

Sony Masterworks has a threepart podcast of the revival on its

website (www.sonymasterworks.com /podcast) featuring Sondheim cast members Matt Cavanaugh and Karen Olivo, as well as critic Frank Rich. The leads kicked off the cast recording at the Barnes & Noble Lincoln Triangle store in June to celebrate the new Sony Masterworks release, followed by a CD signing. The classic American musical recently had a cast change as well: Cody Green, who plays Riff, left the production on August 2nd and is succeeded by John Arthur Greene.

Greene is a fantastic dancer who was the $100,000 grand prize as winner of the Bravo TV reality show Step It Up and Dance. The musical itself recently opened an international tour directed

by Joey McKneely (who reproduced Jerome Robbins’ choreography), with another production, - directed by Gary Griffin and choreographed by Sergio Trujillo - playing at the Stratford Shakespeare Festival recently and receiving rave reviews in Ontario, Canada. The Festival is also presenting A Funny Thing Happened on the Way to the Forum, directed by Des McAnuff, which also receiving excellent reviews. The two productions will play until October 31st.

Finally on West Side Story, there are two five minute videos that parody the musical: Web Site Story at www.collegehumor.com features an internet slant directed by Sam Reich and Worst Side Story, an animated video by Walt Handelsman, is a take on today’s economy and can be viewed at http://weblogs.newsday.com/news/opin ion/walthandelsman/blog/2009/04/anim ation_recession_singalong_1.html. “I was a theater nerd with a love for Sondheim,” said Reich, who as a teenager played Action in West Side Story as part of a high school musical review. Reich said Sondheim read the script for the video and liked it, but refused to do a cameo. “Our dream was to get him at the end watching the video on his computer screen and saying, ‘I have to cancel my Google alert,’” said Mr. Reich.

The recent awards season brought gains and losses. Bravo to the Signature Theater, which received a special Regional Theater

Tony Award. The award is given annually to one of the nation’s leading regional theaters and comes with a $25,000 prize. Signature has presented more Sondheim musicals than any regional theater in the country. (More on the theater below.)

The Drama League, which pays tribute to the season’s best performers, nominated Road Show for Distinguished Production of a Musical (it lost to Billy Elliot: The Musical) and West Side Story for Distinguished Revival of a Musical (it lost to Hair.)

Matt Cavanaugh (West Side Story), Alexander Gemignani (Road Show) and Karen Olivo (West Side Story) were nominated for the Distinguished Performance Award, but lost out to Geoffrey Rush (Exit the King). Arthur Laurents received the Julia Hansen Award for Excellence in Directing and Angela Lansbury received the Unique Contribution to the Theatre Award, presented by Hal Prince.

The Outer Critics Circle Awards, which honors the best in Broadway and Off-Broadway theater, awarded Josefina Scaglione Outstanding Actress in a Musical for West Side Story in a tie with Sutton Foster for Shrek: The Musical. West Side Story was nominated for Outstanding Revival of a Musical, but lost to Hair, Arthur Laurents (Outstanding Director of a Musical) lost to Stephen Daldry (Billy Elliot: The Musical,) Matt Cavanaugh (Outstanding Actor in a Musical) lost to Brian d’Arcy James (Shrek: The Musical) and Karen Olivo (Outstanding Featured Actress in a Musical) lost to Haydn Gwynne (Billy Elliot: The Musical). The Theatre World Award, which is given to Outstanding Broadway or Off-Broadway Debut Performances during the season honored Josefina Scaglione for her work in West S.S. The Drama Desk, which is an organization of theatre critics, writers and editors which honors excellence for Broadway, Off-Broadway, Off-OffBroadway and not-for-profit, awarded Sondheim Outstanding Lyrics for Road Show but Elton John received the award for Outstanding Music (for Billy Elliot: The Musical), West Side Story again lost to Hair for Outstanding Revival of a Musical

13

Sondheim - The Magazine

and Karen Olivo again lost to Haydn Gwynne (Billy Elliot: The Musical) for Outstanding Featured Actress in a Musical.

Lastly, the Village Voice OBIE Awards, which celebrate excellence in the Off-Broadway season, honored Sondheim for his Music and Lyrics for Road Show.

Nonesuch Records and PS Classics released the cast recording of Stephen Sondheim and John Weidman’s Road Show on June 30th. The 17-track recording is produced by PS Classics co-founder Tommy Krasker, and features the complete lyrics as well as production photos. Krasker also coproduced Bounce, the previous incarnation of Road Show, on Nonesuch Records. Both recording companies have produced many Sondheim cast recordings separately, but together they also produced the 2006 Broadway revival of Company.

The cover artwork is from Addison Mizner’s 37-room house, “El Mirasol,” built in 1919. Sondheim’s first original musical in 14 years was recorded last February and featured the cast of the Public Theater production which ran from October to December 2008. John Doyle’s production featured orchestrations by Jonathan Tunick, was conducted by Mary-Mitchell Campbell and starred Alexander Gemignani and Michael Cerveris as Addison and Wilson Mizner, respectively.

The Menier Chocolate Factory’s production of Stephen Sondheim and Hugh Wheeler’s A Little Night Music will transfer to Broadway; rehearsals are tentatively scheduled to begin in October with performances starting in December. No casting, date or theater has been announced, although the New York Times said it would play at a Jujamcyn Theater, one of Broadway’s largest theater chains and Broadway.com, as well as speculating if Angela Lansbury might play Madame Armfeldt, says: “(Hannah) Waddingham …is reportedly under strong consideration to reprise her role on Broadway...”. In a recent interview, Patti LuPone commented: “I have to admit that I am so disappointed that Trevor Nunn is going with someone younger for Desirée in A Little Night

Music on Broadway. I loved doing Desirée at Ravinia -- especially with George Hearn”. Directed by Trevor Nunn, the revival received largely positive reviews from the London press when preview performances began on November 22nd, 2008 at the Menier.

The sold-out run transferred to the Garrick Theatre on the West End for a limited run on March 28th, 2009 and, although announced to have its run extended until September, closed on July 25th The revival is the first Sondheim musical the renowned director has worked on in his long and illustrious career. Night Music follows in the footsteps of the recent revival of Sunday in the Park with George, which originated at the Menier, transferred to the West End, then moved to Broadway. Unbelievably this marks the first Broadway revival of the 1973 classic. The musical has had a few starts and stops in recent years on the way to the Rialto: there were rumors of a revival several years ago starring Glenn Close, with Declan Donnellan as director and there was talk of a fullystaged run following Roundabout Theatre Company’s one-night staged reading of the musical on January 12th at Studio 54, with Natasha Richardson and Vanessa Redgrave. These plans were of course affected by the sad death of Ms Richardson.

The revival will retain the same team from the Menier: musical supervision by Carolyn Humphris, musical direction by Tom Murray and choreography by Lynne Page. The producers are David Babani of Chocolate Factory Productions; Andrew Fell; Frankel, Viertel, Baruch, Routh Group. Babani, who was one of the judges of the recent Stephen Sondheim Society Student Performer of the Year, recently announced: “Since its original opening in December last year, the production has played to packed houses both at the Chocolate Factory and the Garrick Theatre, and discussions are currently underway for a Broadway production to open later this year.”

One last note about Night Music Kristin Scott Thomas, who will be appearing in Le Chatelet’s English language production of the show in Paris in February 2010 as Desirée,

along with Leslie Caron as Madame Armfeldt, told the New York Daily News: “In Paris, it’s treated as an opera.

They’ve never done anything like this before, as they don’t go in for musical theater at all.” iSondheim, which was originally scheduled to open at Atlanta’s Alliance Theater as a pre-Broadway tryout in April but was postponed when the financing fell through, is now up and running because the Roundabout Theatre Company plans to produce the show next year. The New York Daily Post said: “The show, fashioned around several on-camera interviews with the legendary songwriter about his life and work, was supposed to have had a preBroadway tryout in Atlanta this summer.

But it was scrapped when the producers couldn't raise the $4 million capitalization. Enter the Roundabout Theatre Company... (which) has picked up "iSondheim" and will produce it next year on Broadway”. The article also stated that Barbara Cook may possibly star in it: “I’ve heard that rumor,” Cook said, but she wouldn’t elaborate in the article. The show is conceived and directed by James Lapine and based on an original concept by David Kernan.

Previous Sondheim revues were also based on concepts by Kernan: Side By Side by Sondheim and Moving On, which played for a month at the Bridewell Theatre in London in 2000 and then became Opening Doors in the USA, playing at (amongst others) Carnegie Hall’s Zankel Hall in 2004. The Roundabout seems to be gearing up for another Sondheim season with reports that it is considering reviving Merrily We Roll Along, also to be directed by Lapine.

Stephen Sondheim continues to travel far and wide receiving honors and giving presentations and chats.

On Monday, April 27th, the Signature Theatre honored Sondheim at their annual gala, held at the Embassy of Italy in Washington, D.C by inaugurating The Stephen Sondheim Award. The Award will be presented annually and is given to individuals for their career contributions to interpreting, supporting, and collaborating on Sondheim's musical works. The black-tie event

14 raised $275,000, which, according to organizers, was the most successful single fund-raising gala in the Signature’s history. The evening featured performances by Bernadette Peters and Michael Cerveris as well as Signature regulars Will Gartshore and Eleasha Gamble. Artistic Director Eric Schaeffer, who directed the Broadway production of Putting It Together, and was the artistic director of the Kennedy Center' s 2002 Sondheim Celebration, said: “Steve is a special friend to Signature. Having produced his shows annually for the past nineteen years, it is fitting that we establish an annual award in his honor. We wanted to give Steve a special tribute with the artists who have had such a connection to his work.” In a posting on Signature’s website, Sondheim reported: “When Signature approached me about creating an award in my name, I was simultaneously flattered, honored and embarrassed – flattered that Signature should think so highly of me, honored because I think so highly of Signature, and embarrassed because I’m pathetically neurotic about being in the spotlight. The fact is that Signature has done me proud over the years, not merely in the frequency with which they have produced musicals I worked on but because the quality of the productions has been so consistently high and inventive. I look forward to being embarrassed when I inaugurate the award this spring.”

The next night Sondheim was the keynote speaker for the Dallas Institute of Humanities and Culture’s 2009 Hiett Prize Gala Fifth Anniversary. Sondheim presented the award to Dr. James McWilliams, Ph.D., Associate Professor of History at Texas State UniversitySan Marcos and an Associate Fellow in the Program in Agrarian Studies at Yale University. In conjunction, local theater professionals Jac Alder and Steven Jones spoke (separately) about Sondheim and the “Re-invention of the American Musical.” Two nights later, on April 30th, Sondheim appeared at Indiana University with Scott Simon, host of NPR’s

Sondheim - The Magazine

Weekend Edition Saturday for An Evening with Stephen Sondheim and Scott Simon. Jonathan Michaelsen, chair of the Department of Theatre and Drama, said: “It is a thrill to have a theatrical legend like Stephen Sondheim visit Indiana University during our 75th anniversary season. This is particularly exciting for our BFA musical theater students, all of whom hope to become the next ‘triple threats’ on Broadway.”

On May 15th Sondheim introduced Julien Duvivier’s 1937 film Un Carnet de Bal (A Dance Card) at the Museum of Modern Art in New York City, which presented a 22-film retrospective of the French director in May. Sondheim briefly described Duvivier’s work as ‘episodic’ and ‘sketch’ films, and spoke of his influence on both American and French cinema, labeling him the French Michael Curtiz. A self-described “Duvivier nut,” he ruminated about waiting years for a Duvivier retrospective and after seeing several of his films as a young man, exclaimed: “Oh, I gotta make a musical out of that!”

He fondly reminisced about his father taking him to Radio City Music Hall to see Tales of Manhattan as a boy, and ended the evening by saying: “As they say in French … Enjoy!” This isn’t Sondheim’s first tribute to the filmmaker. In 2003 he was a guest at the Telluride Film Festival, where he included three films by Duvivier: La Belle Equipe (The Beautiful Team), Panique (Panic) and, of course, Un Carnet de Bal. Some upcoming and – already – birthday events: The 92nd Street Y' s “Jazz in July Festival” opened its season on July 21st with Sondheim & Styne. The arrangements were by trumpeter Brian Lynch and pianists Renee Rosnes and Bill Charlap.

They were joined by vocalist Kurt Elling, tenor saxophonist Jimmy Greene, alto saxophonist Jon Gordon, bassist Peter Washington and drummer Kenny Washington. The New York Times said of the show: “The concert put the show tunes of Mr. Styne and Stephen Sondheim through the jazz wringer and found a natural compatibility between the genres.” Encores! at

City Center will present a concert Whistle during its upcoming 2009version of Stephen Sondheim and Arthur Laurents’ Anyone Can Whistle during its upcoming 20092010 season. Performances will run from April 8th through April 11th, 2010. The series will also present Girl Crazy and Fanny. Casting and production details will be announced at a future date. City Center presented Gypsy during its inaugural Encores! Summer Series season last summer. Arthur Laurents’ production then transferred to Broadway for a successful run.

On March 4th 2010 Sondheim will be at the Harris Theatre in Chicago with local television talkshow host John Calloway, for An Intimate Exchange with the “Master of the Musical”. Sondheim will speak about the state of American musical theater and reflect on his own creative process as he celebrates his 80th birthday. The Washington National Symphony Orchestra will present Sondheim at 80 from May 6th through May 8th, 2010 and next summer the Ravinia Festival will present a special birthday concert to the composer whose work they have presented five years in a row, culminating in his 75th birthday. This gala benefit will be held on July 31st and will star Patti LuPone, Audra McDonald, George Hearn and Michael Cerveris. Conductor Paul Gemignani will lead the Chicago Symphony Orchestra and Lonny Price will direct. The program will include highlights from past Ravinia Festival presentations of Sondheim shows including Sweeney Todd, A Little Night Music, Passion, Sunday in the Park with George, Anyone Can Whistle, West Side Story and Gypsy.

“The genius of Sondheim can’t be questioned. The star power of Patti LuPone, Audra McDonald, George Hearn and Michael Cerveris make them all without peer. The stage mastery of Lonny Price and Paul Gemignani is unimpeachable.

Add all this magic to the natural beauty of Ravinia Festival, and you’ve got a Gala event for the ages,” said Ravinia President and CEO Welz Kauffman. “In a season brimming with special

15

Sondheim - The Magazine

anniversaries, what better way to celebrate Sondheim’s 80th birthday than by recreating the greatest hits Ravinia has had with his music and these stars over the past decade?”

The idea of a musical version of Groundhog Day surfaced again when Harold Ramis, the film’s director and co-writer, told MTV that he is working on a musical of the film with Danny Rubin, who wrote an earlier version of the script. Said Ramis: “Stephen Sondheim was asked what film he would turn into a musical and he said Groundhog Day. And I said, ‘Wow, that’s pretty cool.’ James Lapine, who directed a lot of Sondheim, actually contacted me and asked if I’d thought about a Groundhog Day musical.”

Ramis told the MTV blog that the musical is in early development. As we know, Sondheim once had an interest in musicalizing the comedy, but during one of his recent “conversations” he told Frank Rich he abandoned the idea.

Arthur Laurents has written a sequel to his 2000 autobiography, Original Story by Arthur Laurents: A Memoir of Broadway and Hollywood, entitled Mainly on Directing. Laurents recounts stories behind his two recent revivals, Gypsy and West Side Story, as well as other productions. He writes about (and critiques) collaborating artists, his life in the theater and his 52-year relationship with his partner, Tom Hatcher.

Daria Begley

NIGEL RICHARDS A Shining Truth Sondheim supporter and performer Nigel Richards has just released his debut CD. Entitled A Shining Truth, it contains 14 previously unrecorded songs from the best contemporary musical composers including Adam Guettel and Michael John LaChiusa.

Nigel says: “I' m afraid there’s no Sondheim as there isn’t a song of his that hasn’t been recorded - believe me I checked! But these are Sondheim’s creative children - his legacy if you like - children and art? But it is a love letter to great and authentic writing”.

You can hear some excerpts and Edward Seckerson interviewing Nigel about the album at www.independent.co.uk/artsentertainment/music/features/podcast-nigel-richards--a-shiningtruth-1762529.html And congratulations to him on his new role as the Phantom.

You can buy the CD via Nigel’s website www.nigelrichards.org or from Dress Circle.

A WONDERFUL GARDEN PARTY The Stephen Sondheim Society’s garden party at David and Pat Oldcorn’s lovely home has definitely always been a highlight and something to look forward to. Lots of lovely people to meet and talk to, plenty of great food (oh, those desserts…) and of course the great entertainment put together by David. This year was no exception and even slightly dull weather could not spoil the fun - the atmosphere in a party like this is something which no rain can spoil. I am already looking forward to the next one and have my calendar ready for booking the date as soon as possible so that I can make sure that I wont miss it. Thank you David and Pat once again for a fantastic afternoon.

Matti Aijala

Thanks for the continuing loyalty and enthusiasm. It makes me want to write another show, if for no other reason than that you'll all have something new to sing at the Garden Party.

Steve Sondheim Singers and Songs from the 26th July 2009 Garden party Singers: Programme: James Smoker You Could Drive a Person Crazy - Laura, Maggie Jack Summers have just graduated & Rachel Laura Tebbutt from the Royal The Ladies Who Lunch - Sarah Maggie May Academy of Music Brotherly Love - James & Jack Rachel Cameron The Best Thing That Ever Has Happened James & Jack Sarah Vandervelde There's Always a Woman - Laura & Maggie Giants In The Sky - Jack Pianists: Moments In The Woods - Maggie Trevor Defferd With So Little To Be Sure Of - Rachel & Jack James Church (both are Society members) Green Finch & Linnet Bird - Laura If You Can Find Me, I'm Here - James Farewell - Sarah Sunday - Ensemble & Audience

16

Sondheim - The Magazine

PUTTING IT TOGETHER Review by David Lardi Tower Theatre Company at the Teatro Technis, Camden Town, London, NW1 11th-20th December 2008 Director: David Taylor, Musical Director: Colin Guthrie Surprisingly it has taken over 16 years for this show to achieve its London premiere and even now this was in a non-West End, nonprofessional production, though none the worse for any of that. Given that it consists entirely of previously written numbers - including out-takes - from earlier Sondheim shows and was originally conceived by Julia McKenzie it is often (mistakenly) thought of as a sort of son-of-Side-by-Side. In fact it was originally much closer in spirit to Marry Me A Little in that it is no mere (biographical) review but instead had the bones, at least, of a drama to support it.

While the length and complexity of its gestation and evolution doesn’t quite rival that of Wise Guys / Gold / Bounce / Strike it Rich / Road Show (please delete as applicable!) it has travelled a fair way since its 1992 Oxford debut via Manhattan Theatre Club and Los Angeles. While its journey, including the deletion and addition of various numbers, would require an article in itself the major change has been the continual weakening and eventual virtual elimination of the story line.

Originally, with “named” characters, it was set around a married couple who are holding a party to celebrate their 25th Wedding Anniversary attended by the husband’s younger male business associate and a waitress hired for the evening though she quickly seemed to metamorph into a guest. Via the songs we observe assorted (attempted) flirtations and couplings and the playing of revealing party games, the proceedings being noted and commented upon the by fifth character, a somewhat ambivalent and mysterious “Observer”, before all are eventually reconciled.

Even at its premiere there was some ambiguity over names – is the husband called “Paul” or “Charles”? At later productions the characters became the merely generic “Husband”, “Wife”, “Young Man” “Young Woman” while the drama itself was generalised, thereby losing almost entirely the story element leaving us just to

concentrate on the interaction of relationships. Unfortunately the publisher’s current – and allegedly final - version reduces these further to an amorphous Man 1, 2 & 3, Woman 1 & 2 which does nothing to focus the dramatic attention and tension.

Teatro Technis is one of those adaptable open spaces similar in feel to The Menier Chocolate Factory. This production played on the long side of a rectangle with the tiered-audience on the remaining three, with a simple but effective set by producer David Taylor.

Excellent and hard-working Musical Director Colin Guthrie’s piano was onstage but to the side, his five-piece band being raised on scaffolding behind the actors and hidden by a gauze.

The songs selected are taken from 13 different shows which, given Sondheim’s versatility, make it hard to reconcile dramatically the constantly changing musical styles – vaudeville, ballad, torch song, big number etc following each other in quick succession - the chic cynicism of Country House (London Follies) immediately giving way to the Carpenter-esque Unworthy of Your Love (Assassins) for example. Thank goodness they didn’t try and shoe-horn in something from Pacific Overtures!!

While some words are altered it still seems to make little sense to have the wife of a 20th century NY publisher say “he talks softly of his wars and his horses and his whores”!

This was less of a problem than it might have been because, sadly, the sound misbalance between actors and band sometimes made the former unintelligible, despite them being virtually on top of the audience - even in songs in which one might know every single word. While with many songwriters this might be a positive asset this is obviously not the case with Sondheim. This mainly affected the larger-scale/orchestrated numbers and was more noticeable/serious in the first half though whether this was because my ears had adapted or the balance was tweaked during the interval I can’t say.

Tower Theatre Company (founded

in 1932 as the Tavistock Repertory Company) are an amateur group who now currently seem to give the majority of their performances at the Bridewell Theatre (of happy memory to many in the society). They normally give between 15 and 18 productions each year and can readily cast from strength.

Standards, both performance and production, are of such a level that I really had to question their amateur status, some being at least the equal of the recent professional West End Side

By Side. The well-attended postperformance Q&A on 18th revealed that for some cast this was their first foray into Sondheim and possibly Musical Theatre. There was a great confidence and fluency – a production obviously thoroughly rehearsed. In particular Ruth Sullivan’s excellent and witty choreography – often the downfall of many non-professional groups – was well executed, though sadly there was no “wardrobe malfunction” as befell Carol Burnett as found on the DVD outtakes.

The cast of five worked well as an ensemble though the main emphasis is on solo numbers. Each half opens offstory, the first being introduced by Martin Jackson’s Observer/Waiter’s Invocation (Frogs). He also led a witty Everybody Ought to Have a Maid (Forum) in a very interesting apron (!) though it is difficult to reconcile the inclusion of Buddy’s Blues into this new context as it seemed totally irrelevant to proceedings – not the production’s fault – however well executed.

The younger “couple” were played

by Kara McLean and Paul Jacobs who particularly shone separately in Sooner or Later, More (Dick Tracy) and Live Alone and Like it (ditto), Have I Got a Girl for You (Company) and together in Worthy of Your Love. Andrew Overin played the Husband and was suitably predatory in Hello Little Girl (ITW), conniving in Have I Got a Girl for You (Comp) and reconciliatory in Being Alive (ditto).

All were thoroughly excellent but for me the outstanding artist was Maria Waters as the Wife in a

17

Sondheim - The Magazine

performance of professional stature.

Admittedly she was helped by having many of the show-stoppers but she easily encompassed the very varying demands of “My Husband the Pig” (LNM out-take), “Could I Leave You” (Fol), “Ladies Who Lunch”, “Getting Married Today” (Comp) and “Like It Was” (MWRA). Certainly a case of do give up the day job.

David Taylor’s fluid direction (and set) brought out the best in both the work and the artists, helping it to flow effortlessly along.

In the Q&A he told of being one of the few general public able to get a ticket for the NY production – and then only because of a snow storm!

It was through seeing this that he had always wanted to put it on himself, for which we must be very grateful, especially given the high standards of his production.

While successive emasculations may have moved the work away from drama – how can you truly care about characters who don’t even have a name or stated relationship? - nearer to a revue it is an excellent entertainment and more rounded than any “Gala Evening” and a good excuse to enjoy a succession of Sondheim songs. Not that one should need any such excuse!

David Lardi

DESERT ISLAND SONDHEIM

The Management Team and members choose their favourite performances Our Time Someone in a Tree Barcelona Some People Broadway Baby What More Do I Need?

Sunday Comedy Tonight!

Mandy Dixon Our Time Take Me To The World Opening Doors Too Many Mornings The Best Thing That Ever Happened (Bounce version) So Many People Sunday Barcelona Lynne Chapman I Remember What More Do I Need?

Someone in a Tree Sunday Goodbye for Now They Asked Me Why I Believe in You Anyone Can Whistle Finishing The Hat Matti Aijala

Take Me To The World - an exquisite duet of optimistic hopes Beautiful - a gorgeous tune, and the expressed longing for the old days appeals to me at my age!

Salon At The Claridge 2, leading into Who Could Be Blue? - with or without words, another gorgeous tune, with beautiful orchestration (and two for the price of one!)

Sunday - Sondheim’s anthem masterpiece.

Children Will Listen - another wonderful tune with words to ponder and admire.

Chrysanthemum Tea - a change from a ballad. This song would need an entire scene in a play; a great example of Sondheim’s facility and wit with words.

With So Little To Be Sure Of - another exquisite duet – a mixture of nostalgia and optimistic longing.

Goodbye For Now - one more beautiful ballad to end with.

David Oldcorn Not While I'm Around - Sweeney Todd Children Will Listen - Into the Woods Liaisons - A Little Night Music Sunday - Sunday in the Park with George Finishing the Hat - Sunday in the Park with George I Wish I Could Forget You - Passion The Ladies Who Lunch - Company Who's That Woman? - Follies

David Ovenden

Comedy Tonight – A hilarious song and one that started the obsession The Ballad of Sweeney Todd – What an opening to a musical – brilliant choral work and orchestrations Johanna – Another beautiful song Hey Old Friend – Never fails to make me smile I Never Do Anything Twice – Hilarious and so, so clever Everybody’s Got the Right – A rousing song that always makes me want to join in I am Unworthy of Your Love – A moving song, even though it is about being obsessed with a serial killer What Would We Do Without You – Brilliant ensemble number I actually struggled to bring it down to eight – and didn’t even get to the numbers I love in Follies, Sunday and all the other brilliant numbers in Company…

Quay Chu Comedy Tonight – no specific version, it’s just my favourite Sondheim song, so pretty much any reasonably decent recording of it.

Good Thing Going (Act 2 Opening version, from the MWRA Leicester cast album) – therein lies a tale. The first time I heard this song (in a record shop), I thought it was terrible.

However I bought the album anyway, and grew to love the song after hearing it about five times!

I’m Still Here (from the SBSBS original cast album) – A great song, a great standard, and well, I just think Millicent Martin is one of the best performers of it.

Could I Leave You (SBSBS original cast album), as I can’t pick either my favourite performance of this (Northampton production of Follies), I’ll go for David Kernan’s rather good take on it.

Growing Up (Leicester MWRA cast album) – it’s just a beautiful song, and the lyrics are so profound, and it’s beautifully sung (besides I HAD to get a bit more Louise Gold in somewhere, and this shows off her talents rather well) A Little Priest (no particular performance – well I’m partial to a certain radio broadcast version, but that doesn’t count).

Sondheim - The Magazine

Sondheim - The Magazine

All photos © David Ovenden Descripta.com

STEPHEN SONDHEIM SOCIETY STUDENT PERFORMER OF THE YEAR

20

Sondheim - The Magazine

The Story of Lucy And Jesse (Original Broadway Cast album) – it brings back memories of seeing Festival Hall’s Follies (of course that sensation performance wasn’t recorded, so let’s settle for the original).

Now for the eighth, well if one is allowed to include material from Gypsy, then I’d go for Everything’s Coming Up Roses (original B’way Cast album) - can’t resist a bit of Ethel Merman. If Gypsy doesn’t count, then I’d go for ‘Whose That Woman’ (no particular version, but perhaps the OBC).

Emma Shane  Sunday from Sunday in the Park With George Day After Day from Merrily We Roll Along Johanna [The duet between Sweeney and Anthony] Sweeney Todd Is There No Other Way from Pacific Overtures No More Questions from Into The Woods Anyone Can Whistle from Anyone Can Whistle Being Alive from Company Everybody Has The Right from Assassins Julia Stafford Northcote

A Weekend in the Country - it reminds me of happy memories of seeing the original production without Jean Simmons who hardly appeared by all accounts and various productions in Birmingham, London, Manchester and I hope to see the new one if I can get in at the overrated Menier Chocolate factory.

Someone in a Tree from Pacific Overtures which I saw the UK premiere in Manchester. It was Sarah Lancashire’s first professional part and the wonderful production in Leicester by Paul Kerryson, England’s No.1 Sondheim director etc.

Finishing The Hat from Sunday in the Park with George - memories of the original unbeatable National Theatre production.

Some People from Gypsy – sensational! Especially by Ethel Merman.

Being Alive from Company - memories of the Oldham Manchester Donmar and many other productions.

Philip Nevitsky

MARIA FRIEDMAN SINGS SONDHEIM Review by David Lardi Cadogan Hall, 5 Sloane Terrace, London, SW1X 9DG 20th March 2009 With Jason Carr (Musical Director, arranger and piano) and James Potter (cello)

Is Maria Friedman another victim of the credit crunch? Statistical analysis would certainly seem to suggest so. Last time she sang Sondheim at the Cadogan Hall (Good Thing Going, 2007) she was supported by the whole might of (a version of) the Royal Philharmonic Orchestra. Last year’s Menier and Trafalgar Studios seasons boasted her usual excellent elevenpiece band while this year’s Shaw Theatre’s Great British Songbook saw her “reduced” to a four-piece ensemble. This “down-sizing” continued at this concert with her being accompanied by just two instruments, a piano and cello. Seriously, it proved to be an inspired combination with the latter, rather than the more predictable double-bass, able to provide a wide-ranging  melodic counterpoint as well as a bass line when required.

While this Sings Sondheim programme was receiving its first British airing, Moments in the Woods having previously been presented at New York’s Café Carlyle in 2003 and Someone in a Tree 2006, a number of its items were well-known from previous Friedman What More Do I Need? concerts, albeit in fuller orchestrations, most notably Marry Me A Little, The Finishing the Hat Story of Lucy and Jessie, the potted-Sunday in the Park with Dot suite and Ever After the staged Worst Pies in London, with the usual hapless, and on this Broadway Baby occasion surprisingly un-cooperative, audience member, which were familiar The Miller's Son from last year’s Re-arranged seasons.

I Remember Also from that programme was Somewhere – an unexpected choice to Eva Spevack close this all-Sondheim evening given that he only contributed the lyrics.  Another surprise was the first half closing number, Broadway Baby, but only Losing My Mind by Liza Minnelli in that, given its cabaret origins, this concert was originally planned to be She’s my No.1 artiste and I have seen without interval. It was only on the day itself, when the hall management her on every concert in the UK since became aware of this fact, and possibly panicked about the resultant plunge 1972 and met her many times plus this in bar revenue, that one was shoe-horned in and her usual (unprogrammed) is a Pet Shop Boys production, my top encore was pressed into service. Retrospectively this was probably a good group, and Follies, my No.1 Sondheim idea in that it would otherwise have been a rather short evening in this show. setting.

Send In The Clowns – from my No.2 While musical standards were impeccable other elements also Sondheim show sung by most anyone, suggested somewhat hurried preparation. It does help if there is some light even Miss Elizabeth Taylor in the film. for the pianist to actually see his music, staging shouldn’t mean that Maria Broadway Baby - from Follies, of was frequently invisible to many sat in one of the balconys and surely course, sung by most anyone especially Chilli Bouchier who sang it at programme notes should be proofed for references to “Future concerts” in 2008 as well this concert itself! the UK Premiere in Manchester well But this is nit-picking. As always Maria, like Julia Mackenzie before her, before London Shaftsbury Ave. shows herself to be a natural and all-encompassing Sondheim singer, effortlessly and instantly switching between the many and varied moods that he requires, whether that be the tongue-twisting Lucie and Jessie, the

21

Sondheim - The Magazine

pathos of I Remember and such eleven-o’clock numbers as Send in the Clowns and Losing My Mind. This last was the only item where the cello obbligato seemed intrusive but this could just have been a question of sound balance.

There were few comparative novelties. Following the current fashion for medleys, as well as the aforementioned SITPWG, there were very effective ones from Follies, Passion and Into the Woods. The only real rarities were one of his earliest songs, I Must Be Dreaming, written in 1948 when the composer was still at college and Isn’t He Something? a song for the dying Mama Mizner in Bounce.

Both cellist, and occasional percussionist, James Potter and pianist, Musical Director and arranger Jason Carr were excellent; the latter looking more like Alfred Brendel (or is it Eric Morecambe?) every day with accompaniments ranging from the subtly sensitive to near-Rachmaninov virtuosity.

There are rumours of a new CD based on her recent Great British Songbook show and just possibly a rematch with Bryn Terfel in Sweeney Todd. Now there’s one to be hoped for!

David Lardi

Stephen Sondheim Society Student Performer of the Year Review by David Lardi Another year, another competition, another theatre. This third Student Performer of the Year competition found itself in the Playhouse Theatre, currently playing host to the Menier Chocolate Factory’s highly successful production of La Cage aux Folles. If it’s one of the West End’s lesser known venues this may be partially because it is situated on its fringes adjacent to Embankment Tube - but also because from 1950, for twenty-five years, it was commandeered by the BBC as a radio theatre before lying dark for ten years, only re-opening in 1987 for public performances.

The competition itself goes from strength to strength, this year seeing forty-four students from twenty-five colleges entering the heats. Chair of the Jury Edward Seckerson and Gordon Griffin had the exhausting, if hopefully not too onerous, task of whittling these down to the twelve finalists. As Ed wryly commented, only one tutor (of two of the candidates) was able or could be bothered to turn up to support them at the heats. As both these got through to the finals this might say something!

The Prize for Best Performer was £1,000, a silver salver and a spot in producers Richard Morris and Doug Pinchin’s next Gala, Broadway to West End by Special Arrangement to be held at the Theatre Royal Drury Lane on 4th October. Given Mr. Sondheim’s enthusiasm for promoting the work of new young composers and lyricists it’s hardly surprising that he requested that the competition should equally focus on new songs by up-and-coming artists.

Accordingly each competitor performed two numbers, one song by Sondheim coupled with one chosen from an extensive list by Mercury Musical Development songwriters. MMD was formed in 1992 by twelve writers and composers inspired by working with Sondheim at Oxford University. Their aim is to nurture and encourage young talent in a field into which it is notoriously hard to get a toe-hold. This means that there was again an additional prize (of £500), donated by George Stiles and Anthony Drewe, for the best new song.

Proceedings, directed and choreographed by Bill Deamer, were compered by show singer Rosemary Ashe who, as well as amusing us with stories from her career, entertained us highly during the judging by singing I’m Getting Sick of Sondheim. This is a number from Fred Silver’s revue In Gay Company which manages wittily to incorporate into its lyrics the titles of too many Sondheim songs to mention or endure. Wonderfully groan-worthy, it can be seen on YouTube. Worth noting was that Rosemary took the trouble to acknowledge hardworking pianist Nigel Lilley which most contestants singularly failed to do!

Each year the standard seems to get higher. Sensibly the majority steered clear of wellknown show-stoppers (and the inevitable comparisons that this would engender). Indeed many chose lesser-known songs and out-takes including“Talent” (Bounce),

“Multitudes of Amys” & “Happily Ever After” (Company) and “If You Can Find Me I’m Here” (Evening Primrose). Notable this year were Aaron Lee Lambert, Lisa Lynch, Francesca Leyland and, in particular, Amy Payne.

The judges came from the whole spectrum of musical theatre and one was grateful that such leading exponents as writer and broadcaster Edward Seckerson, Artistic Director of the Menier Chocolate Factory David Babani, MD Richard Balcombe, singer Kim Criswell and agent and producer Stuart Piper so readily gave of their time and experience.

One sensed that it wasn’t easy for them to arrive at a result - with possibly a split decision - as they felt the unexpected need to single out audience-favourite James Smoker as Highly Commended. A student of the Royal Academy of Music Musical Theatre course, he is the possessor of a fine voice which was shown to great advantage in “If You Can Find Me I’m Here” – a truly involving performance. In total contrast but equally successful was his second offering, Stuart Wood’s Burlington Bertie pastiche “To Be Perfectly Frank”. The eventual winner was Michael Peavoy with “Finishing the Hat”, with Kim Criswell commenting on his “intensity of performance”. His new piece was “To Be a Man” from Matt Gimblett and Julian Chenery’s musical version of Hamlet for children.

That British musical theatre is alive-and-kicking was amply displayed in the new numbers, particularly those of a humorous or whimsical vein, though a few of the ballads were perhaps just a little too “ordinary”. Given that the lyrics were unknown to virtually all the audience, I’d question the decision not to mike-up the singers, especially as this is not a situation now normally found in the profession. It left some of the audience occasionally struggling to comprehend and those singers without a sound vocal training at a decided disadvantage. But perhaps that was the point.

Particularly successful numbers were Alexander S Bermange’s “My Prince” (Laura Harrison) and especially Eric Angus and Paul James’ “The Perfect Stranger”. In this “Country & Western” number Hara Yannas (LAMDA) amusingly played that type of anonymous pretty girl who you (and she) just know will be the next victim of a TV or film serial killer. And she was! Winner of the Stiles & Drewe prize was Olly Ashmore’s “Wake Up TV”, delightfully performed by Amy Payne (GSMD) who, having previously displayed her superb voice and technique to advantage in “I Wish I Could Forget You” (Passion), changed gear completely for Ashmore’s song. Here, following the discovery that her husband is having an affair, a heavy-drinking morning TV presenter decides to have her nervous breakdown live on-air. Its strength was best demonstrated by the fact that it was equally, if not more, funny when encored.

There was a good but not full audience. If you’ve never attended previously because you suspect the event to be merely “worthy”, do rest assured that these are singers trained to the highest level and on the verge of entering the profession. So do yourself a favour and, if possible, come next year. Who knows? You might well see the debut of one of the stars of tomorrow.

David Lardi

22

Sondheim News

STEPHEN SONDHEIM SOCIETY STUDENT PERFORMER OF THE YEAR How did it feel to be taking part? The students tell us their stories.

Michael Peavoy Winner

My experience of the SSS Student Competition started a year prior to my own entry at the Trafalgar Studios, cheering on a good friend of mine in the final of 2008, and experiencing the joy of back-to-back Sondheim songs intertwined with an exciting array of new musical theatre writing.

It was inspiring to see the mass of talent coming through the ranks of drama school combined with the incredible talents of Mr Sondheim resulting in a match made in heaven and an afternoon of great entertainment. From then on I knew that I had to be involved in this fantastic event, somehow.

Knowing the teachers of RADA wouldn't take kindly to bribes, I set out to improve my singing technique and continued to find ways of connecting my 'actors training' to the world of Musical Theatre. I made sure that on every occasion that came along, a Sondheim song was on my singing teacher’s music stand.

Having received a call from Jane Streeton, RADA's Head of Singing, confirming she would like me to sing for RADA in the competition, I eagerly began to sift through the masses of incredible Sondheim material looking

for my song, finally sticking with the quintessential Sondheim song, 'Finishing the Hat.' The first round brought me to the 'maze' that is the Royal Academy of Music. I, at that point, assumed that part of the challenge of the competition was finding the audition room in the first place; walking through incredible winding corridors (mostly in the wrong direction) and admittedly rather enjoying the eclectic chaos being provided by the breathtaking pianists, cellists and singers of the Academy.

Upon finding the room I was greeted by officials of the society with an enthusiastic, nerve-settling smile and began to prepare myself for the test that awaited in the adjacent room. I was nervous to say the least. Finally in the audition room, I was greeted by possibly the friendliest panel, albeit the largest panel, I‘d ever been confronted with and got straight to singing along with the wonderfully talented pianist.

First round over, I navigated myself successfully out of the Royal Academy and headed home full of a Sondheim 'Bounce' (excuse the pun!)

A few weeks later, and very much to my surprise, I received a text from the Head of Singing congratulating both myself and Cynthia Erivo for reaching the final. Needless to say the 'Bounce' was back and I headed straight to meet my father who was visiting me, to spread the news and

vent some excitement onto him. After a proud celebratory cup of tea in the RADA bar, the preparations began.

Having received the song lists from Mercury Musical Developments I set about choosing my new writer’s song and decided to go with the glorious 'To Be a Man' by Julian Chenery and Matt Gimblett from the Shakespeare4Kidz version of Hamlet.

The day of the final was upon us.

Having spent days sorting out tickets and trains for the Mancunian brigade of Peavoys that was set to take over the Playhouse, a few weeks preparing my material and having no more than a few nervous hours sleep, Cynthia and I had reached the Playhouse! No more questions, no more quests... this was it!!

The day of the final was a real joy. Meeting and working with Nigel Lilley, the MD, was the first prize of the day, this was followed by being in the Playhouse and closely trailed by spending the day with a group of incredibly talented performers. We sang through the company number 'the Ballad of Sweeney Todd,' the next treat of the day, a song I've always wanted to sing within its full vocal arrangement. Being part of such a great collaboration of voices was just breathtaking. Then it was on with rehearsals and preparations for the evening performance.

The hour was upon us. We stood waiting for our big entrance, last minute tongue stretches underway and the infallible Rosemary Ashe warming up the audience, the few latecomers being ushered into their seats; then - it was 'our time.'

We paced down the aisles and into positions, and the music began. From that moment on it was pure joy. The

23

Sondheim News

atmosphere within the theatre was unreal. Each performer took the audience to a new place, a new time, a new show - then all of a sudden we had arrived on 'the Island of la Grand Jatte.' The feeling of taking centre stage in the playhouse knowing I had Nigel Lilley ready to play for me, the incredible judges ready to listen and my family and friends on the edge of their seats was one of pure bliss.

Having been locked away in a drama school for almost two years, with only the internal showing to feed my performance hunger, to be out on a public stage again reminded me why I had committed to training in the first place. Looking out and seeing an audience ready to be affected and moved and eagerly waiting to be taken on a journey, was the reason I was there. I remembered a Sondheim quote I had read a few weeks before: "If you're dealing with a musical in which you're trying to tell a story, it's got to sound like speech. At the same time it's got to be a song."

I figured as long as I could move somebody to a smile, or a tear or just make somebody reflect for a moment by telling the incredible story, I had done my job. I finished the hat, and returned to my seat.

Competition over, we had returned from the dressing room to the stage for the judges’ final decisions. I had no idea what was going to happen. Though to win would be nice, I figured just experiencing the previous couple of hours was prize enough. Then came the infamous 'and the winner is...' moment. I'm not sure what I was thinking when the next half of the sentence ended up being '...Michael Peavoy!' It felt like I sat still for a few moments before the penny dropped. I made my way onto the stage and was then completely overwhelmed by the judges’ words of encouragement. It was an incredible end to an incredible day.

Since the competition, I've sung in the Tim Williams 'FIRST TIME AWARD' run by Dr Bruce Wall and the London Shakespeare Workout Company. I'm currently in preparations to sing at the Theatre Royal, Drury Lane for Richard Douglas Productions (part of the Sondheim Society Competition prize!). I will also be singing for the launch of newmusicals.org.uk at the Pigalle Club. In the meantime I will be eagerly heading into my final year of RADA hoping this will not be the end of my relationship with the Society or Mr Sondheim's work. Thanks to all at

the society for this incredible opportunity.

James Smoker Runner-Up

I was fortunate to be one of two students from the Royal Academy of Music to be selected by Mary Hammond to take part in the heats of the competition, and thanks to Mary I had some expert advice selecting my song. Jeremy Sams very kindly took the time to try and think of a song that would suit me ideally, and came up with “If You Can Find Me, I'm Here” from Evening Primrose – something about being bourgeois and unintentionally cocky... He also coached me on the song, and we tried to find some of the joy and snobbery in the piece.

The heat itself was a pretty nerveracking affair, not least because the panel was so large! Everywhere I turned was another prominent Society member making notes and scrutinising minutely, which made my minor lyrical slip feel like the worst faux-pas I'd ever made. Thankfully, everybody was so nice (especially Lynne, who was running the “reception”) that I went home exhilarated and hopeful. And carrying a poster from the European premiere of Merrily We Roll Along, which was a nice memento and a thoughtful gift.

So, when I received an email a few days later saying that I had been successful, I was absolutely delighted – and then daunted by the prospect that, in a few weeks, I would have to perform my song again, plus a Mercury song, in front of a somewhat larger audience. The preparations began immediately, selecting a shortlist of songs from the Mercury catalogue that I would be prepared to sing – a pleasurable task, but a difficult one, given the quality and range of material to choose from.

Finally, I settled on three songs that I felt would give me the scope to find a characterisation that suited me, and would contrast sufficiently with the Sondheim piece.

I was fortunate enough to be able to meet the composer of my Mercury piece, Stuart Wood, in his studio near Old Street. He was kind enough to take it down for me, as in its current incarnation it is sung by a woman impersonating a man. He also gave me some notes about what it meant, and some tips about the allusions to gay icons – an area of expertise I

have not dabbled in, sadly. He even recorded it in his custom-made sound-proof booth – those with the requisite search skills can find a former incarnation of the song (which changed drastically afterwards from a Cockney bloke to a slightly effete man about town) on YouTube...

The night before the big day, I got about two hours’ sleep, as I was worrying so much about my voice, my interpretation, my physicality – and I spent half an hour before getting washed and dressed doing sit-ups, push-ups and vocal warm-ups to ensure that I could perform, even if I was exhausted. Upon arriving (at 9.15 on a Sunday...) we were ushered into the green room area where cagey glances were exchanged between the competitors we were meeting for the first time. But we were soon chatting and comparing notes vis. our training and experiences of Sondheim, even as we were taken upstairs to rehearse the group number (“The Ballad of Sweeney Todd”) with MD Nigel Lilley and Director Bill Deamer. I had resigned myself to defeat after just a few chords, because the vocal quality on show was outstanding, but Bill put us through our paces very efficiently and we ended up with quite an exciting staging (considering we did it in about an hour).

Individual rehearsals followed, and passed in a blur – my abiding memory of this period was traipsing endlessly up and down the stairs to the Upper Circle bar where we were encamped, and wishing we could just get on with it. Soon enough, the house was open, and we were wishing each all the best and leg-breakage. We had all since been chatting away amiably, and an atmosphere of mutual support had developed – really, there was no sense of competition at all, or at least, only between myself and the ideal performance I wanted to give. The mouth has a funny way of drying up at precisely the moment it is required to be most moist. The water on the table is cold, so drinking too much would do funny things to the vocal muscles.

When you sit close to a stage, it hurts your neck to look up at the performers, though politeness and genuine interest impose this discomfort upon you.

Rosemary Ashe is very funny. The judges are sitting behind me. Ah, it appears to be my turn.

So I did it. I started hiding behind the piano. I wondered if that was a bit silly. I finished in silence. I didn't know if that would go down well. Some titters were raised, and they clapped, so

24

Sondheim News

that's good. Did the intro into the Mercury song. Nigel played the intro very fast... and slowed down when I began to sing... thank God... got a laugh at the Berm-OnSea gag... voice cracked a bit on the top note... and that's that.

Everybody else, needless to say, was very good indeed, and I was convinced that were a full ranking to be published I would come pretty low down.

Rosemary gave a fine performance of “I Hate Sondheim”, perfectly judged so as not to spark riots, in order to buy some time for the judges. So, when they came back on and announced that they had invented a runner-up placement for me, I couldn't quite believe it. We hadn't been told about this – every other eventuality had been perfectly choreographed. I sat tight in my chair for quite a long time, as I assumed that only the winner would go up on stage, but eventually Edward Seckerson convinced me to step up. In the panic I didn't manage to shake everybody's hand – to those judges I missed, I take this opportunity to apologise and to thank you profusely for thinking that I was quite good (which is always nice).

Michael Peavoy came home a deserved winner, and I think everyone agreed that his “Hat” was very intense and moving. He was also a very nice chap backstage, which I think counts for a lot. Amy Payne's performance of the winning song, “Wake Up TV”, was also very funny indeed, and its composer Olly Ashmore did especially well considering the strength of the field.

Many thanks to all the judges, members of the society, creative team and sizeable audience, and especially to Lynne, who coordinated us all so splendidly, for making the day such fun. Here's hoping that the event goes from strength to strength in promoting the work of Sondheim and of new composers, and in showcasing twelve very grateful students. Oh, and thanks for the card and the CD, they're lovely.

Francesca Leyland Well what can I say? The SSSSPOTY experience is one I will never forget!!! It really was such a valuable performing experience and valuable learning process right from the beginning of being chosen to represent Arts Ed. When I was chosen I was so honoured and

honestly thought I would get nowhere with it, and when I was then selected to go to the finals I was over the moon, literally!!! I screamed down the phone to my tutor!! I really enjoyed working on a new piece of writing; it was more difficult than I expected interpreting a piece of music that hasn’t already been done by somebody in a show or on a cast recording. It was nice to be able to put my own interpretation into it and know that no one was judging me against someone who has performed it before. With my Sondheim song, I absolutely loved performing it, I felt like I chose a song that really suited my personality and character and was one of the less ‘over-done’ songs. I was a little disheartened when one of the judges picked out my song as one of the ‘lighter hearted less intense’ songs and compared the intensity of it to that of ‘Finishing the Hat’. I thought this was slightly unfair because of the sheer diversity of the two songs. I was really happy with my song choice because it suited my age and maturity and at my young age I could never show the intensity required by that of an older performer with life experience for some of Sondheim’s more intense works.

I was astounded by the talent I was competing against. There were some absolutely fantastic performances, I thought the winner completely deserved to win as he was a stunning performer and also a nice person backstage (which really is important!!) so well done Michael! I also loved being able to share the stage with two of my good friends, one being Alyn who was also chosen from Arts Ed and the other was Lisa Lynch from Mountview who I trained for two years with on the Musical Theatre Course at the Dance School Of Scotland under the instruction of Graham Dickie. It was like a reunion for me and her having been such good friends before we moved to London and went to separate colleges to further our training, so I am very thankful to the SSSSPOTY for giving us both that chance to have a good old giggle together and perform together again!!

I have learned so much more about the work of Stephen Sondheim throughout this process and about the qualities required for the performance of his songs. Hopefully once I graduate from Arts Ed next year I will go on to work in some of his shows as they are such clever amazing pieces of writing.

Thank you once again for this opportunity, I thoroughly enjoyed it.

Lisa Lynch I was shocked to be asked

by Mountview if I would represent the school in the Sondheim competition.

I didn’t know much about the set up of the day so did not know what to expect. The first round of auditions, which were held at the Royal Academy were very relaxed. All the Sondheim officials who helped make the day possible were very friendly and welcoming. I arrived at the Royal Academy early so I was surprised to be taken right away and I think because of this I didn't have time to get nervous.

The panel were very warm and made me feel relaxed. I just wanted to show a bit of my personality to them and that's why I decided to sing "On the Steps of the Palace "as I think this would be my casting type of material. I felt a connection with the song and I concentrated on getting the Cinderella story across. I was delighted to be picked as one of the finalists. The day of the competition came upon me very fast and I'm not going to lie but I was so nervous. We, the twelve finalists, all got to run through our songs with Nigel Lilley, the musical director, who was very helpful and an amazing pianist. I was so happy to be reunited with my friend Francesca as we both trained at the Dance School of Scotland and lived in Glasgow together. The rest of the day was a bit of a whirlwind but I feel I have gained so much experience out of it. The worst bit of the competition was introducing the MMD song as I felt so exposed and wanted to get all the information regarding the songwriters names correct for the writers as I was showing off their composition. I was able to combat my nervousness and did the best I could. I think Michael was fantastic and really deserved to win. Everyone impressed me with there talent and no doubt we will all bump into each other at some point at auditions... oh my goodness. Good Luck to all the finalists and thank you Sondheim Society for giving me the opportunity and valuable experience.

The other finalist:

Laura Harrison

25

Sondheim News

Amy Payne My story began almost two years ago in August 2007 at the Bridewell Theatre. I was performing in a Sondheim cabaret show, called Just Another Love Story, for Ergo Productions. We had sold many of the tickets for the Saturday night's performance to The Sondheim Society and afterwards in the bar, I was approached by David Oldcorn, who asked if I would still be a student the following May. He told me about the competition and he promised to contact me again nearer the time for applications.

My task was then to persuade my college (The Guildhall School of Music and Drama) to put me forward. Luckily, they did and were very supportive and even more luckily so were the Society when I fell ill the day before last year's competition and had to withdraw. I am somewhat of an anomaly in this year's competition, as I am training as a classical singer, not as a musical theatre performer. It was therefore with some apprehension that I stood on the stage at The Playhouse Theatre on Sunday 31st May 2009. Would I really stick out?? I have had success and much enjoyment from performing Sondheim, but maybe I had missed the point? Maybe a more intensive training in the genre provided some key to unlock Sondheim's mysteries? Yet, by the end of the day, I knew that my fears were unfounded. As Kim Criswell gave her adjudication I found myself nodding to what she was saying: Sondheim's music is about intensity. It is about the monumental importance of moments. His gift as a composer is taking everyday crises or states of minds and peeling them open in song, allowing both audience and performer alike to delve into the real 'nitty-gritty' of living. For this reason, I am so pleased that I was given the chance to perform on Sunday, alongside eleven other young singers, who like me were trying to attain that intensity which Sondheim demands. It was a great day, surrounded by music that I love and I came away not feeling like an anomaly, but that I had come closer to achieving what is my ultimate goal, to be a performer who can make an audience sit forward, pay attention and be shown something new.

Thank you Lynne, and everyone involved for a wonderful, memorable and important experience.

Hara Yannas I had heard about the SSS Performer of the Year competition from a fellow student who competed in the final last year and so was excited to be selected as one of the students representing LAMDA this year.

We were asked to prepare one Sondheim song for the initial round and I chose to sing one of my favourites: Moments In The Woods from Into The Woods. The panel were all really friendly and were genuine lovers of Sondheim’s music (obviously!), so it was actually a fun experience rather than a nerve racking one.

I was thrilled to get through to the final, though a little nervous, but the day was really enjoyable. Everyone who took part was lovely & I think the contestants got along surprisingly well! Whilst it’s a bit disappointing not to win, singing on a West End stage in front of such an illustrious audience was pretty incredible.

Congratulations to Michael who gave two excellent performances and was a deserving winner (and a lovely chap!)

Thank you again to everyone at the Sondheim Society for an unforgettable experience.

Oliver McCarthy My first experience of performing in a Sondheim show was only last year, when I won the role of Bobby in Company. This character, and show, was far more difficult to grasp than any other show I’d done before. Therefore, actually putting it together (no pun intended!) was a highly complex, but enjoyable task. I reached the most amazing high when we finally performed it on stage at the Montgomery Theatre in Sheffield, in December 2008.

Having thought I had laid Bobby to rest, I was surprised to get an email from my director, Freda Chapple, inviting myself and a fellow student (who played Joanne in our production of Company) to take part in the heats for the SSSSPOTY. As the heats were only five days away, we had a lot of work to do! We arranged a coaching session for that Saturday, with Freda and Nigel Simeone, our musical director, in which we resurrected our characters. I chose to sing the song that I felt I knew best from the show – ‘Being Alive’. So that was that, and the following day I made my way down to London.

When I finally reached the Royal Academy of Music, where the heats

were to take place, I was told that the panel were ready for me – apparently they were running early. At least there wasn’t any time to get nervous! I went in, met the panel, performed my song in the context as the finale number of Company, and left. It was only when I had left the building and sat down to phone my parents, that someone came running up to me, telling me that the panel wanted me to perform the song again!

As I entered the RAM for a second time, my nerves were on edge. As I went into the audition again, a member of the panel, none other than Edward Seckerson, told me that although my performance undoubtedly contained passion, it was too angry, and that it should be more questioning, probably giving it more sense as a stand-alone song. As I performed the song for a second time, somewhat more reserved, I was told by Edward Seckerson that it was “100% better” than before. The panel must have agreed; I received an email the next day to say that I was one of the finalists. Preparing for the final was no easy feat, with two songs to learn – ‘Happily Ever After’, a cut song from Company, and ‘Losing The Plot’, a song from new musical Me and Sheherazade – plus ‘The Ballad of Sweeney Todd’, which all the finalists would sing. Not only this, but it came in the middle of organizing the annual music department ball and preparing for my end of year recital.

However, the competition grew nearer, and after a couple of meetings with Nigel and Freda, I was ready to compete.

As I made my way down to London again, I began to feel more nervous than I did before. Due to the way the trains were timetabled, I had to travel the day before the competition, and spend a night in a hotel. This gave me time to reflect on my character and the songs, as well as a good night’s rest. The next morning I made my way to the Playhouse Theatre and met the other finalists. There was a great feeling of encouragement within the group; everyone was very supportive of each other, despite us all technically competing against each other. I think we were all blown away with each other’s talent; the standard was very high indeed and I would like to congratulate every student involved in the final.

Coming from a University, as opposed to a specialist music or drama college, I am very proud to have been a finalist of the competition, especially as it is the first time Sheffield has entered.

26

Sondheim News

I am particularly proud to have been in the final, as I am not even a first study singer.

It feels such an honour to have been involved in a competition, not only in which the standard was so high, and the other performers so friendly, but one that celebrates the work of one of my favourite composers.

Elana Martin Stand-by

I was the stand-by for the competition - waiting in the wings in case anyone else keeled over at the eleventh hour. However the other student competitors were fighting fit and I didn't get to perform in the end.

Although I would have loved to get on stage and prove my worth, I had a really enjoyable day and felt very honoured to be a part of the competition. I am so pleased for Michael, the winner, because he acted through song with such commitment and passion. It's not about 'who has the best voice' but what one can transmit through singing. That's what we need more of in the world of Musical Theatre - actors who can sing, not just great voices.

Cynthia Erivo Being part of this competition has been a great experience, I have been privileged enough to learn things about my singing and myself that are invaluable to me. The people I met were all amazing, from the contestants, to the judges and even the audience. The process from the beginning to the end was intense with much to learn from stage to stage. I personally feel that I came away from this a better singer and a better performer.

I would do this again in a heartbeat.

There was no help provided to find the room! I enjoyed my audition and the panel were very friendly.

After being selected to perform in the final, I began working on the song ‘Everybody Says Don’t’ from Anyone Can Whistle. I received a great deal of help and assistance from the college and from private tutors to help me develop the song and to enhance my character and performance.

During this time, I also viewed the songs provided by Mercury Music Development. Despite finding very few songs that grabbed my attention, I picked ‘Whatever It Takes’ from Andrew Brinded’s musical Election Idol. It struck me as a rather brave and comic piece which I couldn’t wait to start developing!

The competition day was an incredible experience. I thoroughly enjoyed working with the events choreographer, Bill Deamer. He was incredibly friendly and made us all feel very at ease. This should also be mentioned for the event’s Musical Director, Nigel Lilley, who was also extremely approachable and supportive.

The competition itself was an invaluable experience. It was fantastic to see so many talented people perform together. Though, for a nineteen year old, second year student, it was rather daunting to be up against much older, Masters students. However, it was extremely valuable to see their interpretation of the songs.

The competition winner was a clear one. Michael Peavoy’s intense performance of ‘Finishing the Hat’ was stunning to watch. The judges were obviously impressed, and awarded him the prize.

The judges’ feedback was very valuable, as is any constructive criticism. However, they did single several people out to deconstruct their performances in front of the whole auditorium, which I felt would have been better left for one-to-one feedback. This I felt was a little unfair as it embarrassed the students involved immensely.

Overall, I very much enjoyed my day with the Society and it is an experience that will remain close to my heart. Thank you to everyone involved!

be high and I wasn't wrong.

The day was a fantastic opportunity to work alongside some fantastic young performers on a fantastic west end stage, with fantastic materiel. The day wasn't about winning the competition for me, it was about taking everything I could from the experience and enjoying it and I certainly did that.

Aaron Lee Lambert If you had asked me two years ago if I’d be sitting here writing about my experience participating in the Stephen Sondheim Society Student Performer of the Year competition, I would have said you were crazy. Two years ago I was living in Brooklyn, waiting tables at a restaurant in Tribeca and working at a private equity firm on 5th Avenue. When I decided to move to Scotland to pursue my Masters at the RSAMD, I never imagined I’d be given so many amazing experiences and opportunities in such a short period of time.

Singing on the stage of the Playhouse Theatre in the finals was one of those experiences. Getting to work with Bill and Nigel and share the stage with Rosemary Ashe, not to mention each and every one of my peers, was not only an honor but also an inspiration. I am so grateful for the very existence of an organization that celebrates the work of Sondheim and, as a composer myself, a competition that encourages the writing of new work.

A Singing Teacher’s Perspective - Philip Raymond on behalf of the RADA Singing Department

Where would we be without Sondheim? A phrase that has such far reaching resonance in the world of the Alyn Hawke performing arts but on this occasion, some I was honoured to be years ago, it was my senior colleague, selected by my college to Darell Moulton, drawing my attention to represent them at the the invaluable link that the composer gives Stephen Sondheim Society us between the English word painting Student school of Purcell and Britten and the world Performer of the Year competition. of contemporary Musical Theatre. It is the We then went along to the Royal College way Sondheim seems to let melody grow of Music for the prelim of the competition. out of the natural inflection of the spoken I must add here that without my singing word and how the emotional journey of the teacher’s help, I would never have found Brett Lee Roberts text impacts on this, that makes this great the room where the audition was taking composer so important to the singing I was extremely place. excited to hear I had made training for the actor studying at RADA. This year’s contest compels me to offer a it to the final of list of heartfelt thanks on behalf of the the competition but also very daunted. I Singing Department at RADA knew the level of competition would

Sondheim News

and our two talented second year students for whom this year’s competition has provided such a valuable and enriching experience.

Thanks to the multi-talented Rosemary Ashe for setting the tone of the competition so skilfully and to Nigel Lilley who played, as always, so sympathetically and with such skill and musicality. Where would we be without such marvellous accompanists?

Most of all thanks to the Sondheim Society for providing a wonderful performing space and such an illustrious panel of judges! External feedback of this calibre before entering the third year of our training can impact very deeply on the student and its importance cannot be overstated.

Michael and Cynthia are riding high and I hope that the confidence that they have gained from this experience will have a positive effect on the rest of their training at RADA and beyond.

were really excited in anticipation of performing before a paying audience and even though they were in competition one with another there was a real camaraderie and bonding between them.

The show itself was the most amazing range of Sondheim (and new songs) sung with passion and enthusiasm, putting many full-time professional singers to shame.

Rosemary Ashe introduced proceedings in a witty and stylish manner and sang delightfully. All this was staged in a highly professional manner.

At the end of the show the audience, which had an encouragingly high proportion of young people, left with an excited buzz.

I think this was quite one of the best showcases of Sondheim songs and young talent I have seen and if I was not behind the scenes taking photographs I would certainly have been in the enthusiastic audience.

Philip Raymond Some of my photos of the event will be appearing in this issue and featured in The Stage the week after the event.

A photographer’s view – David David’s website can be found at Ovenden As a professional photographer and a Descripta.com long time Steven Sondheim fan I offered David Ovenden my services to the Stephen Sondheim Society to photograph this event for them.

I did not know much about it and Finishing The Heats - A assumed that the event would consist of a Judge’s View by Edward few kids standing around a piano doing Seckerson their party pieces.

For those less sad than I, the title is a I was invited to attend the rehearsals pun on the Sondheim song Finishing the as well as the competition itself and I Hat from Sunday in the Park with George thought this would be a good way to get a song, a show, about the art of making art. some candid shots and to learn exactly Tell me about it. For the second year what would be involved during the show. running I've spent a whole day listening to Little did I realise that it would be on forty four students sing forty four Sondheim the stage of a West End theatre - The songs in the hope of reaching the final of Playhouse Theatre in Northumberland The Sondheim Society Student Performer Avenue, and would have a professional of the Year competition which takes place director, Bill Deamer, and all the trappings here today. of a professional stage show.

As Chairman of the jury it's down to me The morning was spent in rehearsals. Not to ensure that we get the best possible mix only were the finalists taken through their and the best possible show on the day. As spoken introductions, the Sondheim song ever, the varying but sometimes very high and the Mercury Musical Developments standard of the heats reflected the level of song they had chosen to sing, but the care - or not - that some schools and some whole group were to sing The Ballad of tutors bestow upon their students.

Sweeney Todd to open the show. Bill Only one of those tutors took the trouble to treated the students with great respect be there for his two students on the day. Is and an understanding of how nervous it a coincidence that they both got through? they were but still expected them to I don't think so. perform to exacting and professional Expect a high standard from the twelve that standards. have been chosen. Some will rise to the During the lunch break and the time occasion, some will not - but all before the show the young cast

27 with have learned something. I offered a smattering of feedback to entrants this time around: "Did that feel comfortable? What about a little more mix in the belt? Don't afraid to be dirtier! Don't overwork the lyric.

Why so angry?"

One lad gave us Being Alive, hitting every line of lyric like his life, and ours, depended upon it. It was relentless but it had passion. He'd already left the building when we decided to get him back. I gave him some notes, he took them, he sang the song again. He's in the final.

Edward Seckerson

The Heats – An Observer’s View by Doug Pinchin These days we have all become accustomed to talent shows. The television schedules are awash with prime-time programmes seeking the latest West End star, pop idol or act for the Royal Variety Show. Often, but not always, the quality of the talent on view is, to say the least, questionable.

Sometimes I wonder if the judges are really hearing what I am hearing as a contestant fails miserably to stay in tune and is given huge praise for, what to me, is a lamentable performance. In some shows the audience leaps to its collective feet if a singer actually manages to hit "the money note". I find this rather strange as isn’t this what they are supposed to do if the song calls for it? A successful change of key is often greeted by cheers and screams. All very exciting I'm sure and wonderful television, but it does make this jaded viewer wonder why the audience is so surprised that a singer can actually do what is required of them. After watching too many toe-curling, bad performances I began to wonder if there really is any undiscovered talent out there. After being involved for the last two years with The Stephen Sondheim Society Student Performer of the Year competition I can honestly say there most definitely is plenty of it!

Last year Richard Morris and I sat in on the heats for the competition and were amazed by the quality of the performances we saw. We are great admirers of Mr Sondheim’s work but fifty or so of his songs being sung at you virtually non-stop could have been a little daunting. However such was the overall quality of the students’ performances that it wasn’t. The twelve finalists were all excellent and we were very impressed by Adrian Groves, last year’s overall winner, when he sang Noel Coward’s London Pride

28

Sondheim News

beautifully in Fly With The Stars, our charity gala at the London Palladium.

So this year when the Society asked if we would produce the finals show we looked forward to seeing what the Class of 2009 would bring forward.

If anything the standard this year was even higher and once again we were very glad that we did not have to make the final choice. We are sure that this year’s judges will have a tough time choosing a winner. We would be delighted to have any of them in our next gala Broadway To West End – By Special Arrangement.

We hope you will enjoy this afternoon’s show and - despite my previous comments about cheers, screams and standing ovations - please feel free to indulge in as many of them as you like – these performers really deserve them!

Doug Pinchin Richard Douglas Productions

The Finals – A Winner’s View by Adrian Grove

(2008 winner)

“And the winner is…”, I remember looking at all the other finalists and wondering which of them had won. It had been such a phenomenal day for everyone involved that it seemed a shame to have to have one chosen.

We’d all been on this journey together and now here we were sat a few feet away from the judges, behind the set, silent and in our own thoughts.

“Adrian Grove”…panic set in…”I’ve got to sing again, can I remember the words, Marry Me a Little’s not easy, it’s very wordy. Can’t I just take the trophy and the cheque, smile and walk off…cheque… I get a cheque...? I can pay for this suit and my rent. Another song? Of course, I’d love to”.

A year on and I’m having a ball. I graduated from Bristol Old Vic and got my first job within two weeks as Fred Gibson, a 2nd World war soldier, in The Play For Today on BBC Radio 4.

We rolled out all the wartime songs for the production including Pack Up Your Troubles and It’s a Long Way to Tipperary. This led onto another radio play in which my vocal talents were employed to play a drag queen called Lulu L’Amore singing Barbra Streisand songs (luckily I didn’t have to wear the heels!!). I obviously have a face for radio as they keep asking me back and to date I have done eight plays, working with Anton Lesser (RSC), Trevor Peacock (Vicar of Dibley), Russell Tovey (History Boys) and Tim

McInnerny (Black Adder) I have sung on HMS Illustrious, the Royal Navy aircraft carrier; at the Grosvenor Hotel for the 2009 St George’s Day celebrations; at the turning on of the Christmas lights in Dubai; at events in Ireland, Scotland, Wales, and as I write this article I am preparing to fly to Oman. However, the highlight has to be the London Palladium.

Part of my prize for winning the competition was to sing a solo at the Palladium in Fly with the Stars, a 1940s show produced by Richard Douglas Productions. The feeling of singing on that stage with a live orchestra, the stars of today and the memories of legends past is something I will remember for the rest of my life.

The Stephen Sondheim Society Student of the Year prize has not only opened doors for me, it has given me an added confidence as well, and I would like to take this opportunity to thank all those involved for an incredible experience, a wonderful start to my career and, not forgetting, the new suit!!!! Good luck to this year’s finalists, sing out, and if you do see me around on the big day and are wondering, the answer is “Yes! It is the suit.”

Adrian Grove

SOMETHING I’M NOT BY LUCY BERESFORD My latest novel Something I’m Not is about a woman surrounded by friends with children but who doesn’t fancy having kids herself. Sound vaguely familiar? Well if you’re a fan of Company you’ll recall that Bobby is surrounded by married couples but doesn’t want to get hitched. Choosing to be childfree felt to me like the twenty-first century version of Sondheim’s fascinating conceit. But why did a writer like me loosely base her debut novel on a musical by Stephen Sondheim? And why is a psychotherapist like me drawn continually to Sondheim’s works?

When I was eighteen, I played Amy in a production in West Sussex of Company. It proved to be a summer not just of rehearsals, and the kind of falling in, out and back into love only possible perhaps in adolescence, but the beginning of my admiration for Stephen Sondheim. The following summer I was in a production of Something For Everyone, a revue. This show included “Good Thing Going” and “Not A Day Goes By”, newly written songs by Mr. Sondheim. By then my reverence for the man was complete.

But given that you’re reading my words in this particular magazine, clearly I am not alone.

What I’ve observed wearing my psychotherapist’s hat is that what makes Sondheim’s musicals resonate for so many people is not just the haunting music, the pungent, caustic lyrics, or the inventive rhymes, but the deep psychological truths. Sondheim is scrupulous in his depiction of the light and shadow sides of human existence - and not just in a musical like Into The Woods which references many Brothers Grimm fairy tales which explore the underbelly of human desire. Assassins examines dark human impulses, whilst West Side Story documents racial conflict. And from A Funny Thing Happened through to Merrily We Roll Along and Passion, Sondheim, with varying degrees of comedy to lighten the blow, explores envy, greed, love, obsession and pain.

Another of Sondheim’s skills lies in charting loss, which is a key aspect of the human condition. We all endure losses throughout our lives, from the moment we are born and lose total physical contact with our mothers, to when we start to separate properly from our parents (eating food on our own, or trotting off to nursery school). Sondheim taps into these losses and, with his rich musical phrasing, helps us bear them.

Most of the characters in Follies and A Little Night Music for example, along with the men in Company, are trying to come to terms with ‘what might have been.’ Petra’s song “The Miller’s Son”, is on one level about a woman recognising a time when she will have to let go of her fantasies.

Pacific Overtures looks at what happens (and what is lost and gained) when a feudal society is exposed to western imperialism. And Sweeney Todd also looks at loss as a trigger both for revenge (Sweeney) and love (Mrs Lovett, and Anthony).

The opposing themes of the outsider and the community also underpin Sondheim’s musicals - and who knows how much of Sondheim’s experiences of being gay have contributed to his nuanced observations around this wide subject? Sunday In The Park With George deals with this in its examination of ‘painter as observer’, just as there is an element of

29

Sondheim - The Magazine

Sondheim-the-outsider with his ‘other family’, the Hammersteins - welcoming though they were to him, with Oscar becoming like a surrogate father.

But no matter what our family set-up, we humans are also group creatures. As the sixteenth century poet John Dunne said, ‘no man is an island.’ Merrily We Roll Along, in looking at changing friendship over the years, touches powerfully on the innate human desire to belong. No wonder ‘Old Friends’ has become such a totemic Sondheim anthem.

Another interesting overlap for me with Sondheim came after I read once that his mother had regretted having a child. There are several Sondheim women, like Gypsy’s Rose, who demonstrate a certain what shall we call it? - maternal ambivalence. In the course of my psychotherapy work, I have met either women who wished they had never had their children, or adults who felt themselves unloved and unwanted. So rather like Sondheim in Company, I’ve tried to explore what happens when characters strive to go against society’s norms. In my novel, the heroine Amber feels under pressure from friends and family to have children, whilst her best friend Dylan, struggles to reconcile being gay and being a Church of England vicar – no easy feat in today’s society.

Life, then, is bitter-sweet, and full of contradictions. And nowhere is this more apparent than in the sphere of love.

And Sondheim is our master guide to love. Not schmaltzy, happy-ever-after, unrealistic love. But love in the modern world, where we must snatch moments of it when and where we can.

Where love means finding someone who will ‘sit in my chair and ruin my sleep’, in ‘an house what we almost own’, in amongst ‘another 100 people’, or with ‘so many people in this world’. Where love and other forms of emotional nourishment can be found amongst friends, colleagues, a surrogate family, or one’s community. Tell me, who hasn’t been moved hearing In “Buddy’s Eyes”, reflecting on the fact that to someone, somewhere, we might be beautiful? It’s what we all want, to be loved. And Sondheim’s enduring legacy is his enviable ability to convey the joy and the pain of that, more exquisitely than most.

Lucy Beresford

FOLLIES

SWEENEY TODD Review by Peter Auker Union Theatre, Southwark

Every Sondheim enthusiast should see Sweeney Todd at least once in a small venue. You could have done a lot worse than attend the tale at Southwark’s Union Theatre th th during its run from November 12 until December 6 2008.

The theatre is converted from a Victorian railway arch and has all the atmosphere required for a terrifying and atmospheric experience, where Sondheim’s bleak vision of humanity comes to life with a kind of claustrophobic clarity.

The presence of the periodic rumble of trains nearby provides an accidental but nonetheless apposite connection to the industrial revolution background of Hal Prince’s original Broadway production.

Sophie Mosberger’s set gave us a bare stage backed by a wall made from planks of wood. The area on the floor directly in front of the stage was also used, dressed when required with furniture and props. Together with a clever lighting plan, the set worked very well and added to the menace of the play.

Director Sasha Regan brought a clear overall vision for the work – often by using recurring dramatic motifs (for example the use of candles in the opening “Ballad of Sweeney Todd” to eerily illuminate the ensemble is repeated in Act Two, where the candles provide a suitably moody light source for the Beggar Woman’s “City on Fire”). She displayed a secure touch in both her direction of the main characters and of the ensemble, who were masterfully treated by turns as Greek Chorus (in the Ballads) and as a group of people all with individual characteristics (“God That’s Good”). Dramatic pacing was good – though to be fair this is essentially dictated by Sondheim’s score; the largely through-composed nature of which automatically gives the work an overall temporal structure.

Sasha Regan genuinely takes the audience on a journey where they can experience not only the surface storyline (she is extremely adept at accentuating the Grand Guignol melodrama), but can catch glimpses of Sondheim’s underlying, more universal, themes as well – this is not an easy task for a director, and she has achieved this very well.

Musical Director Christopher Munday had a literally “hands on” involvement with the show in that he played the Lucy Beresford is a practising entire score on the piano – this is not an easy option as the psychotherapist. Her novel, Something piece demands a flawlessly virtuoso technique. Mr Munday I’m Not, is published by Duckworths in was supported by an organist (required for the pre-show hardback (£12.99) and paperback prelude and Mrs Lovett’s harmonium) but for the most part (£7.99) he was on his own, save for a few organ pedal notes providing the bass here and there. For me, the paring down of the accompaniment to just piano was a mistake. I can fully understand why it was done this way (the venue is very small and the voices unamplified), but the piece badly (cont. overleaf) This quiz was first set on our members website. The lucky winner was member Peter Reardon who won an NY Company CD. QUIZ We have reproduced it here just for fun, the answers are on Page 9.

1. The inspiration for Follies was a picture of ......…standing in the ruins of the demolished Roxy Theatre?

2. What was the original title for the show which later became Follies?

3. Who played Phyllis in the original Broadway production of Follies?

4. Uptown, Downtown was replaced by which song?

5. Losing My Mind was originally written to be sung by……….?

6.Who was the original MD for Follies on Broadway?

7. Michael Bennett was not happy with James Goldman"s book and wanted to bring in ............ to do some rewrites?

8. Bring on the Girls was replaced by........?

9. The original Broadway production was staged at which theatre?

10. Heidi Schiller: "It' s my waltz they' re playing. Franz Lehar wrote it for me in Vienna. I was having coffee in my drawing room. In ran Franz and straight to the piano. "Liebchen, it' s for you". Or was it …………..? Facts never interest me!”

30 missed the orchestral colours of Jonathan Tunick’s arrangements, which convert the accompaniment creepily into almost another character in the drama. The piano sounded as if it hadn’t been tuned since Victorian times, had a creaky sustain pedal, and lacked the dynamic range necessary to really support the singers in the loud passages. It was difficult to remove the impression that we were hearing a rehearsal with piano accompaniment.

With the negatives out of the way, I can now praise Christopher Munday’s coaching of the singers in general – especially the ensemble, who coped with the intricate counterpoint of God That’s Good with aplomb, even without a conductor. Another highlight was their secure pitching of Sondheim’s Britten-esque harmonies in The Letter, something which can easily catch out the most carefully rehearsed of choruses. I would also like to commend Mr Munday’s handling of the numerous choral climaxes – these were spine-tingling as they should be, but well balanced. Pitching (apart from one unfortunate moment in the finale) was spot on; a small venue is very unforgiving of any uncertainties or mistakes, and the ensemble coped excellently.

Now – to briefly pick out some individual performances, I am happy to say that there were some really strong ones, which easily outweighed any weaknesses.

I know from when I interviewed Chris Howell recently that he had thought very deeply about the character of Sweeney.

This has paid off in a performance which clearly charts Sweeney’s descent into an obsessive and murderous madness triggered by a rightful desire for recompense for wrongs done.

Howell grabbed the audience’s attention, from the moment he appears in the doorway through which can be glimpsed the fiery depths of hell, until his final slamming of said door at the very end of the show. Chris’ Sweeney is one of the most powerful I have seen for some while, and he used the small acting space to maximum advantage – getting close to the audience during Epiphany, allowing them to observe his intimate moments of despair when he finally realises the true identity of the beggar woman, even succumbing unthinkingly and half-heartedly to Mrs Lovett’s advances.

There was more than a just a slight nod towards Patti LuPone’s interpretation of Mrs Lovett in Emma Francis’ performance. After a slightly shaky start in Worst Pies In London, the performance settled down and became more secure. Emma was skilled at bringing out Mrs Lovett’s manipulative and angry sides, and she played the part firmly as a villain. Even during her little moment of tenderness (Not While I’m Around), she revealed by subtle facial expressions and gestures that she was already plotting Toby’s demise. A highlight of Emma’s interpretation was A Little Priest. Coming after the madness of Epiphany, this song is traditionally played for laughs and Chris and Emma definitely came up with the goods here. I especially liked the turning of the “rhyming challenge” into a drinking game – this approach worked very well. As a bit of a traditionalist, I was disappointed not to see the classic Cariou-Lansbury pose at the song’s conclusion, but you can’t have everything.

Stephen Rashbrook’s Judge Turpin was one of the strengths of the show. The part demands not only a strong traditional “music theatre” (almost operatic) voice, but also the acting ability to strongly portray the Judge’s thinly veiled sleaziness. Stephen achieved these two goals with ease. I was delighted that his song Johanna was included and its content not shied away from. This song is so often cut – it is

Sondheim - The Magazine

difficult technically, and its portrayal of self-flagellation can make for uncomfortable viewing – but I believe it is important as it creates a deeper dimension to the Judge’s character and provides an insight into his motivations.

I enjoyed Adam Ellis’ Toby very much. He managed to get across Toby’s vulnerability in a completely unaffected and rather understated way, which I felt was just right. The “cheekychappiness” of Pirelli’s Miracle Elixir and God That’s Good was revealed for what it really is – a self-defence mechanism against a rather wretched life which has suffered various forms of abuse from a young age. Adam correctly brought three dimensions to a character which, in the wrong hands, can so easily be played simply for either pure comedy or for “aaahh” value – neither of which is satisfying. Adam’s Toby was definitely one of the highlights of the evening.

Rarely have I seen as angry an Anthony as Leon Kay’s.

One of the great things about Sweeney Todd is that it can tolerate many different interpretations, and I love it when I see something I haven’t seen before in a character. At first, I was a bit taken aback and unconvinced, but as the evening progressed, I warmed to Leon’s approach. I thought you could believe this young man has the guts and grit to be able to “sail the world” and rescue the escaping Sweeney at sea. On balance, perhaps more of a nod towards Anthony’s naivety would be welcome, but congratulations are in order for trying something a bit different. Vocally, Leon’s performance was secure in pitch and rhythm, especially in his duetting with Johanna where he sometimes had to hold things together.

Being charitable, I believe Katie Stokes had yet to peak as Johanna in the performance I saw but no doubt there was a good portrayal in there struggling to get out. It is often underestimated just how difficult the role of Johanna is. Should she be played as a wistful, damaged young girl as Jayne Wisener does in Tim Burton’s film, as a feisty young woman determined to elope with her man (e.g. Sarah Rice from the OBCR) or as crazy comic relief (Betsy Joslin in the George Hearn video)? Katie seems a little uncertain which approach to take, and we are left with something unclear for the audience.

Vocally, although Katie has a pretty voice, phrasing in Green Finch And Linnet Bird was too staccato and needed smoothing out. Also, Kiss Me would have benefited from a slower tempo so that the words could be heard more clearly. A speed of crotchet = 96 would work better than what sounded nearer to crotchet = 120. (Despite Sondheim’s own metronome mark, which indeed is crotchet = 120). This would make what is an important song more manageable, especially without a conductor. Finally, how come Sweeney mistook her for a boy in the last scene when her flowing dress was so clearly visible beneath her coat?

Pirelli was utter delight. In fact, probably amongst the best Pirellis I have seen for a long time. I heaved a sigh of relief as soon as David Kristopher-Brown started to sing. He achieved near-perfect comic timing and made the difficult “patter” passages in The Contest sound easy. His switch later on to his native Scottish accent (as opposed to the more usual Irish) was so brilliant that one could completely believe in him.

Nigel Pilkington’s slightly camp Beadle was great fun – again one of the highlights of the evening. Nigel brought a slightly “Kenneth Williams” quality to the role, which I loved. He even gave a suggestion that the Beadle may have had a slight crush on the Judge, which I thought was a brilliant touch. It is not easy to tinge the Beadle’s character with comedy (he’s a pretty revolting character), but

31

Sondheim - The Magazine

Nigel achieved this, especially in the Parlour Songs (thanks Sasha for not cutting these). Sondheim’s dark vision does need its injection of comedy from time to time – the clues are there in the libretto and the songs, but not all directors/actors pick these up.

The Beggar Woman was played by Roisin Sullivan. Of course, this role is crucial, as so much of the pathos of the work depends on the audience’s gradual realisation of who she really is. (Most audiences, assuming they haven’t seen it before, “get it” before the end. It was always Sondheim’s intention that this should be the case as it ensures that the tragic irony of the denouement hits with maximum force.) Roisin brought to the role a thorough understanding of the torment of this woman – sometimes mad, sometimes lucid (no pun intended there), sometimes lewd. And always exquisitely sung – especially the lullaby at the end. Just brilliant.

In conclusion, this is a production which, although not without its faults, had clear direction, good singing, excellent ensemble work and some very strong individual performances.

Peter Auker This review first appeared on www.sweeneytoddforum.org.uk

a splendid occasion and I take this opportunity to stress to members that this event really is worthwhile attending; by no means should the Competition be regarded as an amateur concert; the standard in 2008 (and even more so in 2009) was very high indeed and with Doug Pinchin and Richard Morris as producers, we were excellently served.

Last year I reported that expenditure of £1000 had been incurred to meet the first interim payment for the magnificent collection of Sondheim related material that the Society has acquired at a very advantageous price. In 2008 we completed the purchase of this collection, expending a further £4115. However, as will be observed, the total cost of the collection has been transferred to our Balance Sheet, which is more suitable spot for it. Unfortunately, as you will read elsewhere in this magazine, we have still not succeeded in finding the ideal location for this collection to be housed in an appropriate way, for the benefit of Society members and others desiring to explore the work of Stephen Sondheim in detail. Hopefully this problem will be solved soon.

As previously these accounts exclude all income received late in 2008 for 2009 subscriptions or events; these have been carried forward to the 2009 accounts. Also, as usual, merchandise, stationery, postage stamps and the like in stock at the end of 2008 have been excluded from our current assets.

INCOME Subscriptions

7943.49

(less Paypal costs) Donations

444.91

(less Paypal costs)

Sale of old magazines

Student competition

2.00

4746.00

EXPENDITURE Administration: Lynne

3625.00

Assistant

605.03

Casual

176.25

4406.28

Printing & stationery

213.78

Postage & mailing

540.80

Telephone/internet

214.25

Sondheim - the Magazine

3273.45

Subscription to NODA

125.00

Student competition

6514.77

(incl £1000 donation)

SOCIETY REPORT & ACCOUNTS FOR I regret to report that the Society made 2008 a loss of some £1050 in the year ended 31 st

December 2008, as against a profit of some £1400 in 2007, and this despite once again receiving some generous donations for which we are extremely grateful. Once again subscription rates remained unchanged and, with new members almost matching those who did no rejoin, the subscription income received was only some £260 less than in 2007, so this was not the reason for the decline in our financial position from 2007.

A major item that contributed to our loss was the Student Competition, and this despite the receipt of a large donation and, of course, the £1000 cheque for the winner being given by our previous Chairman, Keith Stanley. Unfortunately the number of members who came to see the Competition was rather lower than we had hoped; it was

Other shows/events

3889.15

Other shows/events

3796.51

Merchandise

2111.00

Merchandise

2103.59

Bank Interest

188.88

Advertising

0

Archive transferred

5115.00

Further archive cost

4115.00

Fundraising expenditure

150.00

Miscellaneous

39.03

Loss

-1052.03

to balance sheet

________

24440.43

24440.43 CURRENT ASSETS: Opening Balance

8878.06

2008 loss

-1052.03

Closing Balance

7826.03

Represented by: Community a/c

-4832.2

Business Premium a/c

1005.54

Business Tracker a/c

6305.64

UK Mail - refundable deposit

232.00

Archive collection, at cost

5115.00 7826.03

David Oldcorn

32

Sondheim - The Magazine

SINGING SONDHEIM The Singer begins a brand-new series of symposium-style discussions about the performance of different singing genres. We begin with ‘Singing Sondheim’, where Piers Ford chairs a discussion with the world’s top exponents of Sondheim, asking what particular aspects need to be considered when performing this composer’s work Stephen Sondheim’s experiments with theme, form and century audiences who probably won’t have seen a theatre metaphor have embraced so many different references that he production of the show. And while beautiful voices have can be held almost single-handedly responsible for the done wonders with Sondheim’s material over the years, evolution of the traditional Broadway book musical into a far vocal perfection has never been a prerequisite for more mettlesome and complex beast. interpreting his songs.

That responsibility hasn’t always been worn lightly. Sondheim ‘It would be a rare younger person who would be able to polarises opinion, and the clichéd charge that he is ‘too clever convince me with a Stephen Sondheim song,’ says Steve by half ’ will always be raised or implied by critics who dislike, Ross with some percipience, ‘because you have to have perhaps even resent, the demands his words and music can lived a bit, and it seems to me you have to have a place on the audience. But for every detractor there is a knowledge of the jokes and be believable as a person who champion endlessly thrilled by the humanity and compassion would say those words.’ at the core of his work and its capacity for reinvention by new There is no doubt that when his work resonates with a generations of performer. particular singer or actor, it is often the beginning of a If you want evidence of a determination that his work should beprofoundly enriching association for the artist. It goes seen anew rather than as perfectly preserved museum pieces, beyond the nourishing combination of literate lyrics and look no further than Tim Burton’s 2007 film of Sweeney Todd. absorbing melodies. And it is usually reciprocal.

Gone is the broad, grotesque musical comedy of the theatrical When I interviewed Sondheim once, he said: ‘Sometimes Mrs Lovett, replaced by colleagues in performance are absolutely astonishing; Helena Bonham Carter’s hollow-eyed, almost neurasthenic there are implications that are engendered by the characterisation. And the grand guignol bravado of the stage performer’s way of reading a line or singing a song. All the Sweeney is sacrificed in favour of Johnny Depp’s damaged best performers bring to their role something more, anti-hero, for whom the songs seem to amalgamate in a something different from what the author may have put on rumbling leitmotiv. paper.’

These are not great singing performances, but Sondheim The distinguished performers interviewed here exemplify absolutely understands and endorses the changes demanded that special affinity with some intriguing insights into their by the very different medium of film and 21stpersonal interaction with his work.

What are the particular attractions of Sondheim’s work for number is set against Buddy’s inner pain at losing his wife and his you, as a singer? value in life. As with Guiteau high-stepping to his death, the Elaine Stritch: Everything he says in his lyrics rings a bell with me. audience can laugh and also learn by sharing his fight to stay He knows what’s right and what’s wrong, what’s fake and what’s bright in the face of terrible odds. This is Sondheim’s other great real. And like Shakespeare, every time you do good work, gift to us: he is deeply compassionate to older folks as well as the something new comes out of it. The quality of the material young. absolutely matters. I love his humour. It’s real humour – real: they Daniel Evans: One of the criticisms I often hear is that you have to call that wit! be interested in ideas to see Stephen’s work. Maybe there’s a grain Steve Ross: There are so many different ways to do the songs. I of truth in that, but what I really admire about him is that he makes can layer in different parts of my own feelings in a more varied way.the appeal of those ideas emotional. So if you do get off on witty To me, his songs are endlessly fascinating little templates, so lyrics or musical ideas, or even just life ideas, they hit you in a very intelligently written, so encompassing. We’re all multitasking in our emotional way, not just a cerebral way. One of my moments of minds all the time, but he is able to present all of those parts. Take realisation was in Merrily We Roll Along with a very difficult patter ‘Buddy’s Blues’ [Follies]: ‘Go away I need you. Come to me I’ll kill song (‘Franklin Shepard, Inc.’) where Charley Kringas has a you.’ It’s thinking-man’s singing. nervous breakdown. Stephen took me through it line by line. What Henry Goodman: He’s the performer’s muse because he distils all hit me was that he’d put himself absolutely in that character’s the sources that are his own inspiration into dots and dashes. position. I realised that Stephen is, in one sense, an actor because These must be experienced in order to be understood. In for him it’s not about creating pretty sounds or clever-clever lyrics.

Assassins, the characters perform in the entertainment mode of Everything springs from the situation, and the music and the lyrics their era and personality. Charles Guiteau sings in the mode of the are always appropriate to where that character’s mind and inspirational church hymn. As he climbs the steps to the gallows, thoughts and emotions are at that particular point. He writes the hesitations in the melody reveal him overcoming his fears. His musical thoughts rather than abstract motifs or pretty noises. insanity is revealed in superb dynamic control, in key changes and Maria Friedman: He has a finger on the pulse of how it is just to not just in the precise, witty verbal delusions. The musical detail is be alive in an ordinary world. And he understands the fallibility of the delight and is the distress. Sondheim, by repeating an outer human beings, and I think is very forgiving about them. He infuses simple hymn-like melody, stopping it, and starting it, reflects everything with love – for a painting, a view, life - and the desperate Guiteau’s inner state via the control of pitch and pause. Musically, need of a human being to love and be loved. Also, as an actor and the singer’s personal experience is entrapped in the Sondheim a singer, both sides co-exist perfectly when you’re doing one of his stave. In Follies, he demonstrates the juxtaposition of Buddy’s pieces because the demands on you are always truthful. If you can emotion and self-control with his joy by shaping music that ranges get to the core of it, you just have to serve it and it will do the rest from vaudeville showgirl roots to realistic ruts in Manhattan for you. But that means quite often you’ve got to be thinking two or relationships! Buddy sings ’Buddy’s Blues’ at the same time as he three things at once. Plus he’s the most extraordinary lyricist, the opens the Follies show. He’s a clown and a lost soul. The patter of rhymes are dazzling, so you’ll be working on that at the same the cheesy welcoming

Sondheim - The Magazine

33

time, making sure that they ring and you don’t miss the internal rhymes. Also, he makes me laugh – deep down belly laughs – as much as he makes me cry: what a gift.

Barbara Cook: I’d known Stephen socially, through the 1950s and 1960s, but didn’t actually do much of his work until Follies. I’d occasionally put a song in my act but I always felt that unless I did a whole Sondheim section, they didn’t really abut against the others. I thought of them as ‘art songs’. But when I did Follies, I fell deeply in love with his work, and a lot of that was to do with the quality of his lyrics, which are so universal and moving. They are witty and clever, of course, but most of all very emotional. They almost always say something that I want to say. Take ‘No More’ [Into the Woods], a song I’ve been doing a lot in the last year or so. It seems to have a lot more meaning with the world in this difficult state: ‘Can’t we just pursue our lives With our children and our wives?

Till that happy day arrives, How do you ignore All the witches…’

lunch any more. The music and the lyrics are all one. That’s why Steve Sondheim wants to do both. Because he can only express himself when he has the whole pile of wax. He needs it all, he has to express every area of a song, and I admire him for that. Even though he did write brilliant lyrics for Gypsy – and with all due respect to Jule Styne – I’m so curious as to what Gypsy would have been like if Sondheim had done it all.

Evans: With Sunday, there are parts of George that you feel are for a baritone voice but in the middle of ‘Finishing the Hat’ or the ‘The Day Off’, you have to go up into top falsetto. Those vocal gymnastics can be really tiring and I find some of his work very difficult to learn, lyrically and melodically because he never repeats exactly, he adapts and changes rhythms in the second verse. If your thoughts are in the right place, it gives you a clue about where he wants your voice to be. For example, George has a lot of low singing. But at the end of Act I there’s a scene with his mother, who finally agrees to be painted. Sondheim places his voice around D, E and F and you wonder why he’s suddenly talking up there. But I found that it made him seem like a little boy talking to mother. And once you key into things like that, it’s already moving.

Friedman: For me the rhythms are sometimes more difficult. He’s What are the technical challenges of singing his work? unbelievably rhythmically precise and it really matters to get that Patti LuPone: The complexity of the lyrics. There’s never an exact right, because there might be a minim or a crotchet that means repeat of a lyric, so memorisation can be very tricky. And you need something, and if it’s longer, it’s longer for a reason, not just to make sense of the line of the thought: I could never get ‘More because it sounds nice. It always links back to the lyrics and if you Hot Pies’ [Sweeney Todd] correct! get it wrong and learn it wrong, it can be a bit difficult to unravel, But it isn’t just technical, it’s emotionally complex. His work is because you might have taken an emotional turning that he doesn’t deeply human and it’s a risk to go where he goes. It’s pretty much agree with. about getting the score into the throat. Stephen is specific about Ball: I’d recorded ‘Losing My Mind’ and I gave it a jazz-like feel. not swooping in under the note, which is one of my flaws and I Then I was asked to sing it for Hey, Mister Producer! Steve said he think comes from a fear of not getting it. It’s harder to sing it the didn’t want me to do it like that. We went into a little room in Drury way he wants it, but always better. It takes a lot of courage and Lane with a pianist and work-shopped the song for a couple of vocal technique to approach it like that and trust that the note hours. It’s the greatest master class you could imagine. He made will be there. Stephen taught me that and I’ve continued to work on me understand why every note was where it was, where to it over the years. breathe, what was being thought of, why he’d chosen this phrase.

Cleo Laine: The complexity of his intervals doesn’t fox me.

Cook: Musically, it isn’t easy. The intervals and rhythmic patterns Sondheim is aware of what performers can do, and he listens to are unusual and the melody will often do something unexpected, people who can cope with what he’s written. When I was in Into meaning that you can’t just go on instinct. Normally, I’ve learned the Woods, I improvised a high note at the end of one of the melodies quite easily but Stephen’s songs always surprise you.

Witch’s songs and the musical director said, ‘You can’t do that!’ I Working on them brings the rewards, though: those difficult said, ‘Why not? It’s an improvement.’ He said, ‘But it isn’t what moments are often where the meat of the song is.

Stephen wrote.’ I replied, ‘Well, I’m the one getting the applause and I think it’s a better finish.’ He recorded it and sent it to How easy is it to reinterpret Sondheim’s songs, and why do Sondheim, who must have approved as nothing more was heard. they often work so well beyond their original context?

In fact, when he came to see the show, Stephen told me I was LuPone: They are very dramatic pieces in their own right, so I ‘phenomenal ’ so I’d managed to please him. The Witch’s rap was don’t have to create another story to sing them out of context. a bugger to do, though, because if you lost one word the whole lot You always want the piece to be universal if it’s going to live came tumbling down. and his work is really brilliant in that universal way: there’s that Stritch: ‘The Ladies Who Lunch’ [Company] is one of the toughest whole concept of theatre, emotion, love. That’s what makes three-act plays I’ve ever sung. It’s difficult. I’m a stickler for the truth something like ‘Being Alive’ [Company] or ‘Loving You’ and I can’t be satisfied unless I tell it that way and completely [Passion] so perfect. understand it myself. When I sing it, I’m sending up a certain class Evans: I think the songs’ survival outside the musical is a byof dame, of which I have been a member in my time, although I hasten to add I don’t Martini-

The Panel Daniel Evans won Olivier awards for his performances Michael Ball played Giorgio in the 1996 London production as Charley Kringas in Merrily We Roll Along (2000) and of Passion and continues to include Sondheim’s songs in his Georges Seurat in Sunday in the Park with George (2005) recording and concert repertoire. He has made a point of – a part which also garnered him a Tony award nomination reinterpreting archetypal female numbers from a male when the production transferred to Broadway. perspective, most notably ‘Losing My Mind’ in the 1998 Maria Friedman’s long association with Sondheim began in Cameron Macintosh celebration, Hey, Mr Producer!

1990 when she played Dot/Marie in Sunday in the Park with Barbara Cook sang the role of Sally in the legendary 1985 George, and continued in 1996 with her Olivier awardAvery Fisher Hall concert performance of Follies. Her 2001 winning performance as Fosca in Passion. In 2007 she was one-woman show …Sings Mostly Sondheim was acclaimed Mrs Lovett opposite Bryn Terfel in the Royal Festival Hall in New York and London and with her seemingly ageless concert production of Sweeney Todd. voice, she is now regarded as a peerless interpreter of his Henry Goodman’s performance as Charles Guiteau in the songs.

1993 Donmar Warehouse production of Assassins earned him an Oliver Award. He went on to play Buddy in

34

Sondheim - The Magazine

product. I may be wrong but I don’t think Stephen sits down and and pointed out things that should go a particular way or where I’ve says, ‘OK, I’m going to write a number one hit, “Send in the Clowns”!’ been singing a wrong note. But with ‘Losing My Mind’ there were two But when things are so specific – and not all of these songs will work phrases that he wanted me to put together without a breath, and I outside the context – to that situation, they can also have a universal just couldn’t see it physically. Later, he told me that when I’d said relevance. It just so happens that a lot of us have felt those feelings that, he was surprised: ‘I thought you just did it!’ he said. ‘I didn’t at different times, so the songs can be adapted and will stand alone. know so much went into singing it.’

Ball: They’re universal but you have to do all of his stuff with LuPone: Having him at rehearsals is historic. When we did sincerity. Take ‘I’m Still Here’ [Follies]: there is no better show Sweeney in concert, there was Stephen Sondheim, the New York business anthem to survival and it could easily be a parody of itself, Philharmonic Orchestra – one of the greatest in the world – and but if you do it properly and land it, there is no better example of Jonathan Tunick correcting the score, and we were all just in awe.

Broadway chutzpah. It’s like ‘Rose’s Turn’ [Gypsy]. You need a But nobody had a video camera to record it! certain amount of restraint because it’s there for you, you don’t need Evans: There is a kind of awe that he inspires. In my experience he to embellish. is also very strict, never about notes necessarily, but about thoughts.

Friedman: Most interpreters have to use their own life. As we get So when you get to hear that stuff from the horse’s mouth, it’s such a older, we’ve all had a bit of loss, hope, love, guilt. And he writes thrill. And to have someone who’s so ready to tell you is a real about people. The best songwriters allow the audience to feel that privilege. He also has great humility. Sometimes writers don’t know it’s been written for them. When you’re singing it, it belongs to you what they’ve written. Someone will come along and interpret their because it’s your life you’re observing and imagining. I really think work in a different way. If Stephen hears something like that which that’s what he does the very best. Just to be alive is complicated, so he likes, he’s very open. He’s a collaborator. He knows that art can’t he’s got a never-ending palette. stand still, more than most.

Ball: It’s an extraordinary experience because it’s like touching the How does his breadth of musical references resonate with you: roots of musical theatre. He doesn’t disappoint. The lovely thing is he more a global composer than simply American? about rehearsing with him there is that he’s absolutely fine about you Friedman: Each show has all sorts of references, but it’s always his, exploring every place you can go. Then he’ll say something that cuts isn’t it? Having played Mrs Lovett with Bryn Terfel, you’ve got two right through the shit. And it is daunting. He’d be shocked to hear very different styles going on. I think in a film it would be very difficult. this, but you never feel 100% comfortable with him because he’s so That ‘out there’ musical comedy with Mrs Lovett, which is absolutely intelligent, intellectually superior to anybody I’ve ever met, and it’s essential in theatre, would have looked most odd in Tim Burton’s like sitting at the feet of the master. You want to please, to be stroked London in the film of Sweeney Todd. I know that he was very happy and told you’re good. He’d be amazed to hear that because he with lots of that film and he’s just very happy to see it reinvented. doesn’t regard himself like that at all. When I did Passion, there was Cook: Most of the time, he’s just my friend Steve. Then I’ll look no number for Giorgio that explained why he felt the way he did across the dinner table and think, that’s Stephen Sondheim! He’s our about Fosca. I felt that without that, the audience would find it too Kern, our Gershwin. It’s hard to think of him like that for me, but it’s hard to understand. So Steve wrote the most brilliant soliloquy for the truth. A lot of his music is so classically informed. I think of him as Giorgio with money notes and everything. He totally understood why a European composer rather than particularly ‘American’.

I felt it was needed. That’s a really clever writer, somebody who can Laine: It depends what he’s setting to music. You can’t get more marry what he does with a performer’s needs.

English than Sweeney Todd with that sense of old London. He’s just Friedman: The first time, I’d been made to sing a song in the wrong got a very good ear, like Noël Coward, for whatever piece he’s key by the director, because that was the key Stephen had written it writing. And that’s the important thing for any musician – to have the in. I was struggling with some of the notes that were too low and he ear of the street. walked in and said, ‘Why’s she singing in that key? It should be this Ross: It’s global, mature music. The references are poetic, one.’ He went straight to the piano and altered it. Other composers imagistic. I haven’t enjoyed every minute of every show I’ve seen. I will tip you all over the place because they don’t write properly for the can’t get myself to see Assassins, for example, and I don’t really like voice; they want a huge key change that will take you up to an F the songs that much. I also had trouble with Passion. So I’m not when you’ve been banging away on a D. He might stretch you but across the board, every word is gospel. Maybe what I have to do he’ll never push you beyond where you should be. before I see these productions is listen to the music, get it all, Ross: I am my own accompanist, and some of the songs I do pretty because I won’t get it the first time round. much the way they’re written, and with some of them we’ve tried other things. I was lucky that the great man himself showed up at the What impact does his personal involvement in productions show last year, and he was OK with it. And I was very pleased about have on you? that. In the early 1980s when I did an album and put one of his Cook: Follies is the only time I’ve worked with him on something of songs on it, I got one of those little letters he’s so famous for. He’s a his own, although he’s critiqued songs I’ve sung in concert good guy, very curious and eager to help.

the semi-staged production of Follies at the Royal Festival Hall in 2002.

Cleo Laine appeared as Desirée Armfeldt in Michigan Opera’s production of A Little Night Music in 1983 and the Witch in the 1989 US national tour of Into the Woods. Her 1988 album Cleo Sings Sondheim, with orchestrations by the composer’s regular collaborator Jonathan Tunick, is now considered a classic.

Patti LuPone has played Mrs Lovett in Sweeney Todd several times: in acclaimed 2000 New York and 2001 San Francisco concert performances, at Chicago’s Ravinia Festival (where she has also performed several other Sondheim roles), and in John Doyle’s 2005 Broadway production. She is now back on Broadway,

singing Sondheim’s lyrics nightly as Mama Rose in a major revival of Gypsy.

Steve Ross is one of the biggest names on New York’s sophisticated cabaret scene. He recently brought Good Thing Going – The Songs of Stephen Sondheim to London for a second time and will shortly release an album based on the show.

Elaine Stritch was Joanne in the original Broadway production of Company (1970), and retained the role in London when the show opened here in 1972. In 1985 she was an unforgettable Hattie in the Avery Fisher Hall Follies, and she continues to pay tribute to Sondheim in her awardwinning show, …At Liberty.

35

Sondheim - The Magazine

UK Show Calendar

This information is kindly supplied by: Josef Weinberger Ltd., 12-14 Mortimer Street, London W1 T 3JJ T: 0207 580 2827 UK Professional Productions Into The Woods • Landor Theatre September 15th – October 17th 2009 Box Office: 020 7737 7276

UK Amateur /Pro-Am Productions Company • Forth Wall Productions October 19th Grand Theatre, Swansea • Fasten Your Seatbelts November 19th - 21st The Electric Theatre, Guildford, Surrey • Completely Productions December 1st - 5th Bull Theatre, London

• Betty Wivell Academy Of Dance

• Lingfield Notre Dame School

• Charlton School

•

•

•

& Drama December 10th – 12th St. Philip's Hall, London SW16 St. Peter Players December 10th – 12th Chalfont St. Peter Community Centre, Chalfont St. Peter, Bucks

Merrily We Roll Along • Shilo Theatre Company December 9th – 12th Royal Northern College of Music, Manchester, M13 9RD

Sweeney Todd • Opera Di Nepotist September 6th – November 22nd Dr. Johnson House, London EC4 and Normansfield, Follies Teddington • Manor Philbeach Light Opera Society • First Stage Theatre Company October 28th - 31st September 8th – 12th Lund Theatre, London NW3 Royal Northern College Of Music, Manchester, M13 9RD Funny Thing Happened on the • Jersey Green Room Club Way to the Forum, A September 23rd – October 3rd • Lewes Operatic Society th rd Jersey Arts Centre, Jersey September 30 - October 3 • Workington Amateur Operatic Town Hall, Lewes, East Sussex Society • Five Saints Amateur Theatre October 5th – 10th Company th th Carnegie Theatre, Workington, October 6 - 10 Cumbria Theatre Church, Bolton, Lancs • Shinfield Players Theatre • St. Ives M & DS October 9th – 17th October 14th - 17th Shinfield Players Theatre, Burgess Hall, St. Ives, Cambs Shinfield, Reading • Barton Players th st • Stage 22 School Of Arts October 29 – 31 October 11th Barton Village Hall, Barton-LePalace Theatre, Westcliff On Clay, Bedfordshire Sea, Essex • Grove & Rawdon Theatre • St. Albans Operatic Society Company October 13th – 17th November 10th – 14th Alban Arena, St. Albans, Herts Yeadon Town Hall, Yeadon, Leeds • Luckynine Productions • Petersfield Theatre Group October 22nd – 31st November 25th – 28th Pier Theatre, Bournemouth Festival Hall, Petersfield, Hants • Bath Light Operatic Group Into The Woods October 26th – 31st Theatre Royal, Bath • Nomads September 16th – 19th • Abingdon Operatic Society Latimer Arts College, Barton October 27th – 31st Seagrave, Kettering, Northants Abingdon School, Abingdon, Oxon • Parkstone Grammar School October 13th – 16th • Act Too Productions Parkstone Grammar School, October 27th – 31st Poole, Dorset Central Sussex College, Haywards Heath, Sussex • Liverpool Theatre School November 24th – 25th • Three Towns Theatre Company Parklands City Learning Centre, October 28th – 31st Speke, Liverpool The Brook Theatre, Chatham, Kent • Mountview Academy Of Theatre Arts November 26th – December 5th • Calday Grange Grammar School Karamel Club, London N22 November 12th – 14th Calday Grange Grammar • City Theatre Company November 28th School, West Kirby, Wirral St. Andrew's Church, Hove, Sussex • Ellowes Hall Specialist Sports College • UCLU Musical Theatre Society December 3rd – 5th November 16th – 19th Ellowes Hall Specialist Sports Bloomsbury Theatre, London WC1 College, Dudley, West Mids

•

•

•

•

•

•

•

November 19th – 21st Lingfield Notre Dame School, Lingfield, Surrey Guild Musical Theatre Group November 23rd – 28th Deb Hall, Guild Of Students, Birmingham University, Birmingham City Of London Freemen's School November 26th – 28th City Of London Freemen's School, Ashtead, Surrey Huish Episcopi School December 2nd – 4th Huish Episcopi School, Langport, Somerset Stonyhurst College December 3rd – 5th Stonyhurst College, Stonyhurst, Lancashire Dover Federation For The Arts December 7th - 12th Astor College For The Arts, Dover, Kent Alleyne's High School December 9th – 11th Alleyne's High School, Stone, Staffordshire Kimbolton School December 9th – 11th Kimbolton School, Huntingdon, Cambridgeshire Worcester Sixth Form College December 9th – 11th Worcester Sixth Form College, Worcester

West Side Story • Wolverhampton Youth Music Theatre September 8th – 12th Arena Theatre, Wolverhampton • Clifton Academy Of Dance, Drama & Music September 10th -12th Lowther Pavilion, Lytham St Annes, Lancashire • Boxstep Theatre Company September 12th Alexandra Theatre, Bognor Regis • Angus Musical Youth Theatre September 23rd – 26th Webster Memorial Theatre, Arbroath, Angus • Apollo Players October 5th – 10th King's Theatre, Glasgow • Newbury Nomads October 7th – 10th Corn Exchange, Newbury, Berkshire • University Of Nottingham Medical School October 28th – 31st Nottingham Arts Theatre, Nottingham • Worthing Musical Comedy Society November 2nd – 7th Connaught Theatre, Worthing, Sussex

• •

• •

•

•

•

•

•

•

• •

•

•

• •

November 11th – 13th Charlton School, Telford, Shropshire Priory School November 11th – 13th Priory School, Shrewsbury Calder Valley Youth Theatre November 18th – 21st Halifax Playhouse, Halifax Lady Manners School November 18th – 21st Lady Manners School, Bakewell, Derbyshire Up In Arms November 18th – 21st Playhouse Theatre, Oxford Bryanston School November 19th – 21st Bryanston School, Blandford Forum, Dorset Biddulph High School November 24th – 27th Biddulph High School, Stoke-On-Trent, Staffs St. Christopher School November 24th -27th St. Christopher School, Letchworth, Hertfordshire Razzmatazz Community Youth Music Theatre Company November 25th – 28th Penistone Paramount Theatre, Penistone, Sheffield Abingdon School December 2nd – 4th Amey Theatre, Abingdon, Oxfordshire Ashby School December 2nd – 5th Ashby School, Ashby De La Zouch, Leicestershire Licensed Victuallers' School December 3rd – 5th Licensed Victuallers' School, Ascot, Berkshire King John School December 8th – 10th King John School, Benfleet New Hall School December 9th – 10th New Hall School, Boreham, Chelmsford, Essex St. Nicholas Catholic High School December 9th – 11th St. Nicholas Catholic High School, Hartford, Cheshire Tiffin School December 9th – 12th Tiffin School, Kingston Upon Thames Centenary Theatre Company December 9th – 13th Brindley Theatre, Runcorn Luton Sixth Form College December 16th – 19th Luton Sixth Form College, Luton, Bedfordshire