Step into the history of famed composer Stephen Sondheim in the musical extravaganza Sondheim on Sondheim
In the midst of a Sondheim resurgence that has swept through the world of musical theater, Cherry Creek Theatre’s latest production, Sondheim on Sondheim, serves as a resplendent jewel in the crown of this ongoing renaissance. In a landscape where Broadway is presently graced by two Sondheim productions, Merrily We Roll Along and Sweeney Todd, Off-Broadway is home to the world premiere of his final musical, Here We Are, and his works are frequently staged across Colorado — like the recent Into the Woods at the Arvada Center and A Little Night Music at the Denver Center — the reimagined world of Sondheim is in full swing.
But for those seeking a deeper dive into the maestro’s artistic psyche, this musical revue proves to be an unparalleled gem. Originally conceived and directed by James Lapine, this production ingeniously weaves archival footage and video interviews with Stephen Sondheim himself, guiding the audience through the labyrinthine corridors of his creative process.
The tapestry of songs, culled from a staggering array of Sondheim’s works spanning six decades, paints a vivid portrait of his evolution as a composer. From the iconic strains of West Side Story to the haunting melodies of Into the Woods, the audience is treated to a musical odyssey through the composer’s mind.
This marks Cherry Creek’s second production of Sondheim on Sondheim, following a 2015 run. Returning from the earlier cast, Susie Roelofsz, Brian Merz-Hutchinson, and David Kincannon reprise their roles, joining forces with a stellar local ensemble including Isabella Duran, Traci Kern, Carolyn Lohr, Lars Preece, and Carter Edward Smith.
Director Bernie Cardell, also the artistic director at Vintage Theatre, brings his extensive experience with Sondheim to the fore, returning to Cherry Creek Theatre where he directed the Sondheim revue, Side by Side by Sondheim, back in 2011. Cardell’s direction in Cherry Creek Theatre’s Sondheim on Sondheim is nothing short of masterful, as he seamlessly weaves together a mix of talent, humor and multimedia elements to create a theatrical experience that is as captivating as it is innovative.
One of the standout aspects of Cardell’s direction is his skillful use of the eight-person cast to craft mesmerizing stage pictures. The choreography of the actors on stage feels like a beautifully composed musical score, with each member of the cast becoming a vital note in the grand symphony of Sondheim’s world.
Moreover, Cardell infuses the production with humor that is both sharp and endearing. His keen understanding of Sondheim’s wit is evident in the way he stages the production; the humor in Sondheim on Sondheim is not just a source of laughter – it’s a means to deepen the connection between the audience and the material.
Teaming up with scenic designer Tina Anderson, the space is transformed into a visually opulent celebration of the esteemed composer. Cherry Creek’s intimate thrust stage is adorned with five exquisite chandeliers suspended from above, a translucent curtain upstage allows for dynamic color changes with backlighting, and a centrally placed piano, masterfully played by the returning music director Rob Lowe, acts as the pulsating heartbeat of the show.
With an absence of a conventional plot, the production’s strength lies in the cast’s unwavering dedication to the material. Standout moments include the enthralling rendition of “Something’s Coming” from West Side Story, Kincannon’s virtuosic interpretation of the intricate patter song “Franklin Shepard Inc.” from Merrily We Roll Along, the exhilarating Act One group finale of “Sunday,” from Sunday in the Park with George, the poignant “Gun Song” from Assassins, and the touching final three numbers – “Send in the Clowns” from A Little Night Music, “Company / Old Friends” from Company, and “Anyone Can Whistle” from the early Sondheim work, Anyone Can Whistle.
While Cherry Creek Theatre’s Sondheim on Sondheim is undeniably a captivating celebration of the iconic composer, one area where the production could benefit would be from a slight adjustment is in its length. The comprehensive exploration of Stephen Sondheim’s vast repertoire, spanning over 62 years of musical history, makes for an almost three-hour marathon of melodies.
As much as Sondheim is revered for his iconic hits, it’s essential to acknowledge that not every composition from his shows achieves the same level of musical transcendence (I’m looking at you, Passion and A Funny Thing Happened on the Way to the Forum). Although these pieces are undoubtedly part of Sondheim’s legacy, they lack the universal appeal and timeless resonance that characterize his more renowned creations.
Nevertheless, the production remains a commendable tribute to Sondheim’s multifaceted artistry. The technical finesse of the production adds a layer of sophistication, making the experience feel like an upscale cocktail party celebrating Sondheim’s legacy. Jessie Page’s costume design impresses with its sleek individuality, affording each actor a distinct look and a tasteful costume change to begin Act 2. Emily A. Maddox’s lighting design is finely tuned to resonate with the emotions of each song and using the backdrop curtain to introduce vivid pops of color. And Max Silverman’s sound design and Peter Flaherty’s video design seamlessly weave together, creating a visual and auditory mélange that resonates with Sondheim’s legacy.
Cherry Creek Theatre’s Sondheim on Sondheim stands as a shining testament to the enduring allure of Sondheim’s musical landscape. With a cast and crew firing on all cylinders, this production not only pays homage to Sondheim’s unparalleled legacy but also invites the audience on an intimate journey into the creative mind of a musical genius. In a city brimming with Sondheim fever, this show is a shining star, reminding us all why his melodies continue to echo through the ages.
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