Side by Side by Sondheim
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Exploring "Side by Side by Sondheim" on the West End
"Side by Side by Sondheim" is a celebrated musical revue that premiered on London’s West End at the Mermaid Theatre on May 4, 1976, running for 59 performances before transferring to Wyndham’s Theatre on July 7, 1976, and later the Garrick Theatre, totaling 806 performances by its close on April 29, 1978. Conceived by David Kernan and directed by Ned Sherrin, this tribute to Stephen Sondheim’s genius features songs from his early works and collaborations, performed by a trio Millicent Martin, Julia McKenzie, and Kernan with Sherrin narrating. Produced by Cameron Mackintosh, it showcases Sondheim’s wit and innovation, earning a Tony nomination sweep for its cast during its subsequent Broadway run and cementing its status as a timeless celebration of musical theatre’s modern master.
A Tapestry of Sondheim’s Songs
The revue unfolds in two acts, weaving a medley of Sondheim’s hits and rarities without a linear plot, tied together by Sherrin’s pithy narration. Act One opens with “Comedy Tonight” from A Funny Thing Happened on the Way to the Forum, followed by obscurities like “I Remember” from Evening Primrose and the cut “Can That Boy Foxtrot!” from Follies. A Company suite including “You Could Drive a Person Crazy” closes the act, spotlighting Sondheim’s knack for urban angst. Act Two dives into protest with “Everybody Says Don’t” from Anyone Can Whistle, soars with “Send in the Clowns” from A Little Night Music, and ends with a 27-song mash-up, from “Maria” to “The Ladies Who Lunch,” celebrating his lyrical breadth. It’s a revue that revels in variety, not narrative.
A Creative Collaboration
David Kernan sparked the idea as a benefit for Cleo Laine and John Dankworth’s theatre in Wavendon, enlisting Sherrin and Mackintosh to bring it to life. Sondheim contributed ideas during rehearsals, shaping the cast’s delivery. Millicent Martin and Julia McKenzie, fresh from Ayckbourn plays, joined Kernan, with Ray Cook supervising the two-piano accompaniment by Tim Higgs and Stuart Pedlar. Bob Howe staged the musical numbers, while Peter Docherty’s minimal sets and Gina Fratini’s costumes kept the focus on the songs. The result was a lean, elegant showcase three singers, a narrator, and pianos proving Sondheim’s work could dazzle without lavish trappings.
A West End Triumph
The Mermaid Theatre debut launched a West End odyssey, moving to Wyndham’s for 518 performances and the Garrick for 229, a run fueled by critical acclaim and audience love. The Times hailed its “sharpness and sophistication,” while its transfer to Broadway in 1977 at the Music Box Theatre produced by Hal Prince ran 390 performances, with the entire cast (Martin, McKenzie, Kernan) earning Tony nods. A 2007 revival at The Venue ran May 1 to June 23, starring Abbie Osman, Alasdair Harvey, and Josie Walker, directed by Hannah Chissick. Its West End success, totaling over two years, showcased Sondheim’s rising star and Britain’s appetite for his cerebral charm.
Melodies That Define a Master
The score spans Sondheim’s early catalog: “Being Alive” and “Another Hundred People” from Company probe modern malaise, while “Broadway Baby” and “Buddy’s Blues” from Follies nod to vaudeville. Collaborations shine “A Boy Like That” with Leonard Bernstein from West Side Story, “You Gotta Get a Gimmick” with Jule Styne from Gypsy alongside rarities like “The Boy From…” with Mary Rodgers. “Send in the Clowns” remains the jewel, its haunting simplicity a standout. Performed with just two pianos, the 1976 cast recording captures the trio’s crisp interplay, a testament to Sondheim’s lyrical and musical depth that needs no orchestra to soar.
A Lasting Sondheim Legacy
From its West End roots, "Side by Side" toured globally Australia in 1977 with Jill Perryman, a 1978 U.S. tour with Larry Kert, and a 2011 Sydney run with Enda Markey. A 1989 Cleveland revival directed by Rob Marshall added polish, while its influence echoes in later Sondheim tributes like Putting It Together. The original cast’s Broadway feat nominated for Best Featured Actor and Actress underscores its impact. Though not a traditional musical, its West End run introduced Sondheim to wider audiences, paving the way for his later masterpieces and affirming his place as theatre’s sharpest voice.
Why "Side by Side by Sondheim" Endures
"Side by Side by Sondheim" captivates with its unadorned reverence for a composer who redefined musical theatre. Its West End journey from Mermaid to Garrick offered a crash course in Sondheim’s brilliance, blending humor, heartbreak, and sophistication in a revue that feels both intimate and expansive. For London audiences, it was a witty, British-tinted lens on an American icon, a night where songs stood alone yet told a collective story. Its staying power lies in its simplicity three voices, two pianos, one genius making it a perennial love letter to Sondheim’s craft that still resonates nearly 50 years on.