A documentary, cloaked in a musical, peppered with vignettes and duets, sprinkled with group song and dance numbers, and topped off with a dazzling set and live on-stage pit. That is as close as I can come to describing one of the most moving and glorious productions that I have seen recently. Silhouette Stage’s (Columbia, MD) production of Sondheim on Sondheim opened Friday June 2nd to a well-deserved standing ovation. This is a show that needs to be seen. Begs to be experienced. This production is not your typical hot fudge sundae. It’s an exquisite banana split, resplendent with layers of goodies that are sure to have you savoring every bite and leave you wanting more. Need more convincing? Then read on!
Sondheim on Sondheim is a musical review and documentary (“documusical”) showcasing one of the most iconic composers of our time, the late Stephen Sondheim. The production was originally conceived and directed by Sondheim’s longtime collaborator James Lapine and had a limited Broadway run in 2010. Directed and Choreographed (yes, there are some dance numbers too) by Stephen Foreman (with Assistant Direction by Debbie Mobley & Assistant Choreography by Maddie Bohrer), Silhouette Stages’ production is a class act through and through, from the set to the staging to the tour-de-force of local talent Foreman cast to bring his vision to life. And what a vision! The set will take you back to the big band era, complete with a center live pit on stage flanked by two white staircases and curtains, two dangling swirled glass chandeliers, a dark backdrop with tiny lights reminiscent of a vertical night sky and two very clever platforms in each wing that roll in and out throughout the show, taking performers on and off stage in dramatic fashion. When everything comes together, it will touch your senses deeply and cause you to laugh, love and applaud. Loudly. And of course, overhead is a huge screen where we see various clips of interviews with Mr. Sondheim about his life and career, perfectly coordinated to go with the musical numbers being performed onstage. The concept is inspired, Mr. Foreman’s execution is brilliant, and the result is a posh revue that humanizes Mr. Sondheim in a way that I can barely describe. The projections and music combine to move us powerfully throughout his life, and although some of the clips we see are part of (came with) the show itself, Foreman added a few others to highlight some relevant issues society is facing in our time. If you don’t leave the show moved, you have no soul.
Stuart Kazanow (Projection Coordinator/Additional Projections) needs to be commended for putting together one of the key parts of the show, the video clips we see. There’s a lot of work required to make this technical aspect of the show work, and it does so seamlessly. These projections add a special dimension to the show and it would not be what it was without them. Some are just video while others are still shots and, no spoilers here, there are some that just need to be seen and felt in the context of the show.
Costume Designer/Makeup Designer Deana Cruz-Conner has outfitted the performers elegantly, adding to the show’s dramatic flair. The dresses on the ladies and tuxes on the gents lend a note of black-tie class to the show. Cruz-Conner has a keen understanding of fashion and color, not to mention the show itself, and brings all these elements to perfect synergy in dressing the principals.
Music Director Rachel Sandler never fails to impress, and this production is no exception. Sandler has worked hard with these insanely talented folks to make the solo numbers shine, the duets blaze, and the ensemble numbers scorch. The harmonies and blending of voices are Broadway ready. Sandler is a gifted voice teacher and singer in her own right, so she knows what works and what doesn’t. And oh boy, are you in for a treat as you listen to some classic Sondheim tunes, some of which are well known (while others are less known) and some of which have been re-orchestrated which playfully takes the old and gives a new twist. I especially liked the version of “Something’s Coming” (West Side Story), reimagined. The audience is privileged to hear what Sandler has put together, and I’ll leave it at that.
But no matter how talented a Music Director is, it doesn’t matter a hill of beans if you don’t have good talent to work with. Allow me to gush for a moment, but there are some people out there in our community who work full time jobs but, in their spare time, share their talents with us lucky folks.
So, let’s talk about the cast. This is truly an ensemble show in every sense of the word, and each cast member is a standout. They work with each other so seamlessly that there is not one weak link that could be detected. The performers consist of Benton Evans, AnnaBelle Lowe, Tommy Malek, Josh Mooney, Ellen Quay, Matt Wetzel, Robyn Bloom Yakaitis, and Kristen Zwobot. Whether belting out solo numbers, harmonizing with another (or others) in group numbers or singing/dancing their way into our hearts in rousing ensemble numbers, each of these people have gorgeous voices, stage presence, and know how to sell the song. While everyone is deserving of praise and recognition, this reviewer was especially taken by Mooney’s “Epiphany” (Sweeney Todd), Wetzel’s “Franklin Shepard, Inc.” (Merrily We Roll Along), Malek’s ‘Being Alive” (Company) and Bloom Yakaitis’ soulful and heartfelt renditions of “Send In The Clowns” (A Little Night Music) and “Losing My Mind” (Follies). Another favorite was a collaboration of performers on another of my favorites, “Children Will Listen” (Into The Woods). While the above-mentioned numbers were stunning, so were so many others and, while not mentioned by number/name, every performer in this production will leave you breathless with emotion and palms sore from clapping.
Lighting Designer TJ Lukacsina kept the elegance of the set in mind with subtle lighting that allows the audience to see the numbers being performed, but keeping the mood posh with the pit in the background and darker tones toward the screen to help the projections be clearly visible. The result creates a ballroom type feel and one wishes they had a tall-stemmed glass of bubbly to sip while enjoying the show.
While Sondheim passed in November of 2021, his legacy lives on. Silhouette Stage’s production of this show is a must see for anyone who appreciates musical theatre, especially the works of the maestro himself. Even if you’re not a Sondheim fan, this show will move and entertain you in a profound way. It will take you on a journey of Sondheim’s life and offers a peek at the man himself. This intimate look into the life and times of whom many consider one of the best composers of our time will make you laugh. It will make you cry. This show humanizes the man in a way that touches the senses and stirs the soul. And, in the end, you will walk away knowing the man better. Understand his struggles a bit more. Learn something you never knew. And, best of all, you will hear it from the man himself. After all, this is Sondheim on Sondheim.
Running Time: Approximately 2 hours and 30 minutes with one intermission
Sondheim on Sondheim plays through June 18th 2023 with Silhouette Stages currently at Slayton House Theatre in the Village of Wilde Lake Columbia— 10400 Cross Fox Lane in Columbia, MD. For tickets please call the box office at (410) 216-4499 or purchase them in advance online.
