Stephen Sondheim

Complex, intricate, unique, heartbreaking, mature, and melancholic are just a few words which describe Stephen Sondheim’s compositions. His lyrics exude such intelligent truth, never soppy sentiment. If you adore listening to music you need to really think about, then Sondheim’s your man. Even his more light hearted tunes have a tinge of sadness and awaken your emotions.

As a youngster Sondheim was mentored by Oscar Hammerstein II, who had a profound effect on his development. I often forget that his talent was behind the lyrics for 1957’s West Side Story and 1959’s Gypsy, generally associating him with the musicals he composed in their entirety.

 

The Ballad of Sweeney Todd (the first number in Sweeney Todd) has Gothic operatic undertones and sets the scene for the chilling tale. I’m not a musician but believe it’s written in a minor key giving it that eerie razor sharp tone. The combination of instruments throughout is perfect. Opening in 1979 it still sounds surprisingly contemporary. The 2012 production I saw with Michael Ball and Imelda Staunton was as fresh and brutal as though it had just been written.

I’m fond of 1981’s Merrily We Roll Along with its clever reverse chronological structure. The songs reflect how the relationship between three friends deteriorates over the years, after they meet filled with youthful hope and exuberance. Cynicism gradually replaces idealism. I saw a great production at the Donmar Warehouse in 2000 (was it really that long ago) and another in the West End in 2013. My favourite songs from this musical, Old Friends and Not A Day Goes By, both appear twice. This allows them to be presented in varying contexts with different lyrics, and we gain more insight into the characters.

1970’s Company is another fine musical. A group of friends gather for Robert’s birthday celebration. He’s the defiantly single protagonist who views couples with disdain. Robert’s friends are paired off, and share their experiences of love and relationships. Clearly it’s an attempt by some to persuade him and others to put him off. In the cheeky number You Could Drive A Person Crazy, a trio of Robert’s girlfriends lament his reluctance to settle down. Being Alive is the moment when it hits Robert that a life without love isn’t a life, even with the invariable ups and downs. It’s absolutely heartrending.

Into The Woods borrows characters from several fairy tales; Cinderella, Jack And The Beanstalk, Little Red Riding Hood, Rapunzel, Sleeping Beauty, and Snow White, weaving them into an original story. Debuting in 1987, it’s a quirky piece with a soaring score. For me No One Is Alone is the standout song from this musical. It’s sung by older characters to comfort younger characters who’re in mourning for their relatives. The words are poetic and honest. Stay With Me is particularly poignant as the Witch doesn’t want Rapunzel to grow up, find love, and move away. This fear of loneliness manifests itself as controlling behaviour.

There’s so much depth and power to Sondheim’s work. I wonder how closely it’s connected to his personal experiences. I can identify certain recurring themes throughout his musicals. Namely how people relate to one another, the complicated nature of relationships. We’re lucky that Sondheim has composed so many wonderful musicals, many of which are revived periodically for us to enjoy.