Review: Pre-Broadway Run of Stephen Sondheim’s Old Friends Is a Stellar Tribute to the Master

In-between a successful West End run and an upcoming limited engagement on Broadway, Stephen Sondheim’s Old Friends has arrived at the Ahmanson in Los Angeles. A collaboration between Sondheim before his passing and London impresario Cameron Mackintosh, Old Friends offers a treasure trove of talent, led by two Broadway Icons, Bernadette Peters and Lea Salonga, that crystalizes the massive genius of the late composer.

The setlist includes most of Sondheim’s hits from Company, Follies, Into The Woods, Sweeney Todd, as well as his lyrics from West Side Story and Gypsy. Never overwhelming, the many numbers stress that Sondheim’s lyrics are pure poetry, filled with irony and pathos. Directors Matthew Bourne and Julia McKenzie don’t rely on strung-together banter; the creators understand that a Sondheim song is a one-act play itself.

The remarkable legend Peters has a deep connection with Sondheim, having originated two roles, Dot in Sunday in the Park with George and the Witch in Into The Woods, and starring in major revivals of Gypsy, A Little Night Music, and Follies. Still glowing, Peters’ interpretation of songs is thrilling. She digs deep in “Losing My Mind” and “Send In the Clowns” cutting to the core of the characters they represent. She also lends her playful humor to ensemble numbers “Broadway Baby” and “You Gotta Have a Gimmick.”

Salonga wins many numbers, notably, the melancholy “Loving You,” the showstopping “Everything’s Coming Up Roses,” and provides a dazzling interpretation of “Somewhere.” Just when you think the show has her pigeon-holed, she slyly slithers into the grotesquely comic Mrs. Lovett for “The Worst Pies in London” and “A Little Priest.”

However, this is a no star-vehicle, where the two headliners hog the big numbers: the songs are well distributed to give everyone a moment to shine.  Tony winner Beth Leavel rags modern marriage with Gavin Lee in “The Little Things You Do Together” then savages the middle age malaise in “The Ladies Who Lunch.” London star Bonnie Langford stakes her flag for survival in “I’m Still Here.” Kate Jennings Grant twists her tongue with glee for “The Boy From…”

Lee leads a camp romp of “Everybody Ought to Have a Maid” while cuttingly ending his marriage with “Could I Leave You?” Jason Pennycooke breezes through “Live Alone and Love It, while hamming it up for “Buddy’s Blues.” Joanna Riding blocks her own wedding without taking a breath during “Not Getting Married.” Jeremy Secomb makes for a terrifying barber, Jacob Dickey a tantalizing wolf, and Dickey, Kyle Selig, Daniel Yearwood, Maria Wirries, and Jasmine Forsberg turn the “Tonight Quintet” into a sexy, rousing, beautifully sung number.

The staging is simple, allowing the numbers to flow throughout the evening. Stephen Mear’s choreography, though not extensive, makes all the cast members glide with ease. Warren Letton uses lighting as visual punctuation. Matt Kinley’s sets include multi-level windows to give the visuals a grandness. The costumes by Jill Parker are extravagant. Instead of putting the men in tuxes and the women in uniform dresses, many numbers feature elaborate outfits one would find in a full production. Standouts include the stripper get-ups for Gypsy, and dank, stained clothes for the Sweeney Todd numbers.

A stellar production, showcasing remarkable performers with the chops to tell Sondheim’s sweeping stories through song, Stephen Sondheim’s Old Friends is a night to remember and a night to mourn that we’ll never hear a new Sondheim song again.