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Welcome to Our Generation USA!
Below, we cover Theater and Stage including plays (and their playwrights) influencing generations, from 1950 until today.
A Listing of Stage/Theatrical Plays
YouTube Video of A Funny Thing Happened On The Way To The Forum (Part 1) - CUG&S Lent Term Mainshow 2013
Pictured: LEFT: Poster for "Fiddler on the Roof" starring Zero Mostel (1964): RIGHT: Two-person play "Venus on Fur" (2010 Starring Nina Arianda and Wes Bentley.
A play is a form of literature written by a playwright, usually consisting of dialogue between characters, intended for theatrical performance rather than just reading.
Plays are performed at a variety of levels, from Broadway, Off-Broadway, regional theater, to Community theater, as well as University or school productions.
There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed or read. The term "play" can refer to both the written works of playwrights and to their complete theatrical performance.
Genres:
Comedy:
Comedies are plays which are designed to be humorous. Comedies are often filled with witty remarks, unusual characters, and strange circumstances. Certain comedies are geared toward different age groups. Comedies were one of the two original play types of Ancient Greece, along with tragedies.
An example of a comedy would be William Shakespeare's play "A Midsummer Night's Dream," or for a more modern example the skits from "Saturday Night Live".
Farce:
A generally nonsensical genre of play, farces are often overacted and often involve slapstick humor.
An example of a farce includes William Shakespeare's play The Comedy of Errors, or Mark Twain's play Is He Dead?.
Satirical:
A satire play takes a comic look at current events people while at the same time attempting to make a political or social statement, for example pointing out corruption. An example of a satire would be Nikolai Gogol's The Government Inspector and Aristophanes' Lysistrata. Satire plays are generally one of the most popular forms of comedy, and often considered to be their own genre entirely.
Restoration Comedy:
This is a genre that explored relationships between men and women, and was considered risqué in its time.
Characters featured in restoration comedy included stereotypes of all kinds, and these same stereotypes were found in most plays of this genre, so much so that most plays were very similar in message and content. However, since restoration comedy dealt with unspoken aspects of relationships, it created a type of connection between audience and performance that was more informal and private.
It is commonly agreed that restoration comedy has origins in Molière’s theories of comedy, but differs in intention and tone.
The inconsistency between restoration comedy’s morals and the morals of the era is something that often arises during the study of this genre. This may give clues as to why, despite its original success, restoration comedy did not last long in the seventeenth century. However, in recent years, it has become a topic of interest for theater theorists, who have been looking into theater styles that have their own conventions of performance.
Tragedy:
These plays contain darker themes such as death and disaster. Often the protagonist of the play has a tragic flaw, a trait which leads to their downfall. Tragic plays convey all emotions, and have extremely dramatic conflicts. Tragedy was one of the two original play types of Ancient Greece. Some examples of tragedies include William Shakespeare's Hamlet, and also John Webster's play The Duchess of Malfi.
Historical:
These plays focus on actual historical events. They can be tragedies or comedies, but are often neither of these. History as a separate genre was popularized by William Shakespeare.
Examples of historical plays include Friedrich Schiller's Demetrius and William Shakespeare's King John.
Musical Theater:
Ballad opera, a popular theater style at the time, was the first style of musical to be performed in the American colonies. The first musical of American origin was premiered in Philadelphia in 1767, and was called “The Disappointment”, however, this play never made it to production.
Around the 1920s, theater styles were beginning to be defined more clearly. For musical theatre, this meant that composers gained the right to create every song in the play, and these new plays were held to more specific conventions, such as thirty-two-bar songs. When the Great Depression came, many people left Broadway for Hollywood, and the atmosphere of Broadway musicals changed significantly. A similar situation occurred during the 1960s, when composers were scarce and musicals lacked vibrancy and entertainment value.
By the 1990s, there were very few original Broadway musicals, as many were recreations of movies or novels.
Musical productions have songs to help explain the story and move the ideas of the play along. They are usually accompanied by dancing. Musicals can be very elaborate in settings and actor performances. Examples of musical productions include Wicked and Fiddler on the Roof.
Theater of Cruelty:
This theater style originated in the 1940s when Antonin Artaud hypothesized about the effects of expressing through the body as opposed to “by socially conditioned thought.” In 1946, he wrote a preface to his works in which he explained how he came to write what and the way he did.
Above all, Artaud did not trust language as a means of communication. Plays within the genre of theatre of cruelty are abstract in convention and content. Artaud wanted his plays to have an effect and accomplish something.
His intention was to symbolize the subconscious through bodily performances, as he did not believe language could be effective. Artaud considered his plays to be an enactment rather than a re-enactment, which meant he believed his actors were in reality, rather than re-enacting reality.
His plays dealt with heavy issues such as patients in psych wards, and Nazi Germany. Through these performances, he wanted to “make the causes of suffering audible”, however, audiences originally reacted poorly, as they were so taken aback by what they saw. Much of his work was banned in France at the time.
Artaud did not believe that conventional theater of the time would allow the audience to have a cathartic experience and help heal the wounds of World War II. For this reason, he moved towards radio-based theatre, in which the audience could use their imagination to connect the words they were hearing to their body. This made his work much more personal and individualized, which he believed would increase the effectiveness of portraying suffering.
Theater of the Absurd:
This genre generally includes metaphysical representations of existential qualms and questions. Theatre of the absurd denies rationality, and embraces the inevitability of falling into the abyss of the human condition. Instead of discussing these issues, however, theatre of the absurd is a demonstration of them. This leaves the audience to discuss and question the content of the play for themselves.
One of the main aspects of theater of the absurd is the physical contradiction to language. Oftentimes, the dialogue between characters will directly oppose their actions.
Famous playwrights within this genre include Beckett, Sartre, Ionesco, Adamov, and Genet.
Terminology:
The term "play" can be either a general term, or more specifically refer to a non-musical play. Sometimes the term "straight play" is used in contrast to "musical", which refers to a play based on music, dance, and songs sung by the play's characters. For a short play, the term "playlet" is sometimes used.
See Also:
Lists:
Plays are performed at a variety of levels, from Broadway, Off-Broadway, regional theater, to Community theater, as well as University or school productions.
There are rare dramatists, notably George Bernard Shaw, who have had little preference whether their plays were performed or read. The term "play" can refer to both the written works of playwrights and to their complete theatrical performance.
Genres:
Comedy:
Comedies are plays which are designed to be humorous. Comedies are often filled with witty remarks, unusual characters, and strange circumstances. Certain comedies are geared toward different age groups. Comedies were one of the two original play types of Ancient Greece, along with tragedies.
An example of a comedy would be William Shakespeare's play "A Midsummer Night's Dream," or for a more modern example the skits from "Saturday Night Live".
Farce:
A generally nonsensical genre of play, farces are often overacted and often involve slapstick humor.
An example of a farce includes William Shakespeare's play The Comedy of Errors, or Mark Twain's play Is He Dead?.
Satirical:
A satire play takes a comic look at current events people while at the same time attempting to make a political or social statement, for example pointing out corruption. An example of a satire would be Nikolai Gogol's The Government Inspector and Aristophanes' Lysistrata. Satire plays are generally one of the most popular forms of comedy, and often considered to be their own genre entirely.
Restoration Comedy:
This is a genre that explored relationships between men and women, and was considered risqué in its time.
Characters featured in restoration comedy included stereotypes of all kinds, and these same stereotypes were found in most plays of this genre, so much so that most plays were very similar in message and content. However, since restoration comedy dealt with unspoken aspects of relationships, it created a type of connection between audience and performance that was more informal and private.
It is commonly agreed that restoration comedy has origins in Molière’s theories of comedy, but differs in intention and tone.
The inconsistency between restoration comedy’s morals and the morals of the era is something that often arises during the study of this genre. This may give clues as to why, despite its original success, restoration comedy did not last long in the seventeenth century. However, in recent years, it has become a topic of interest for theater theorists, who have been looking into theater styles that have their own conventions of performance.
Tragedy:
These plays contain darker themes such as death and disaster. Often the protagonist of the play has a tragic flaw, a trait which leads to their downfall. Tragic plays convey all emotions, and have extremely dramatic conflicts. Tragedy was one of the two original play types of Ancient Greece. Some examples of tragedies include William Shakespeare's Hamlet, and also John Webster's play The Duchess of Malfi.
Historical:
These plays focus on actual historical events. They can be tragedies or comedies, but are often neither of these. History as a separate genre was popularized by William Shakespeare.
Examples of historical plays include Friedrich Schiller's Demetrius and William Shakespeare's King John.
Musical Theater:
Ballad opera, a popular theater style at the time, was the first style of musical to be performed in the American colonies. The first musical of American origin was premiered in Philadelphia in 1767, and was called “The Disappointment”, however, this play never made it to production.
Around the 1920s, theater styles were beginning to be defined more clearly. For musical theatre, this meant that composers gained the right to create every song in the play, and these new plays were held to more specific conventions, such as thirty-two-bar songs. When the Great Depression came, many people left Broadway for Hollywood, and the atmosphere of Broadway musicals changed significantly. A similar situation occurred during the 1960s, when composers were scarce and musicals lacked vibrancy and entertainment value.
By the 1990s, there were very few original Broadway musicals, as many were recreations of movies or novels.
Musical productions have songs to help explain the story and move the ideas of the play along. They are usually accompanied by dancing. Musicals can be very elaborate in settings and actor performances. Examples of musical productions include Wicked and Fiddler on the Roof.
Theater of Cruelty:
This theater style originated in the 1940s when Antonin Artaud hypothesized about the effects of expressing through the body as opposed to “by socially conditioned thought.” In 1946, he wrote a preface to his works in which he explained how he came to write what and the way he did.
Above all, Artaud did not trust language as a means of communication. Plays within the genre of theatre of cruelty are abstract in convention and content. Artaud wanted his plays to have an effect and accomplish something.
His intention was to symbolize the subconscious through bodily performances, as he did not believe language could be effective. Artaud considered his plays to be an enactment rather than a re-enactment, which meant he believed his actors were in reality, rather than re-enacting reality.
His plays dealt with heavy issues such as patients in psych wards, and Nazi Germany. Through these performances, he wanted to “make the causes of suffering audible”, however, audiences originally reacted poorly, as they were so taken aback by what they saw. Much of his work was banned in France at the time.
Artaud did not believe that conventional theater of the time would allow the audience to have a cathartic experience and help heal the wounds of World War II. For this reason, he moved towards radio-based theatre, in which the audience could use their imagination to connect the words they were hearing to their body. This made his work much more personal and individualized, which he believed would increase the effectiveness of portraying suffering.
Theater of the Absurd:
This genre generally includes metaphysical representations of existential qualms and questions. Theatre of the absurd denies rationality, and embraces the inevitability of falling into the abyss of the human condition. Instead of discussing these issues, however, theatre of the absurd is a demonstration of them. This leaves the audience to discuss and question the content of the play for themselves.
One of the main aspects of theater of the absurd is the physical contradiction to language. Oftentimes, the dialogue between characters will directly oppose their actions.
Famous playwrights within this genre include Beckett, Sartre, Ionesco, Adamov, and Genet.
Terminology:
The term "play" can be either a general term, or more specifically refer to a non-musical play. Sometimes the term "straight play" is used in contrast to "musical", which refers to a play based on music, dance, and songs sung by the play's characters. For a short play, the term "playlet" is sometimes used.
See Also:
- Canovaccio
- Closet drama
- Drama
- Dramatis personæ
- Playwright
- Theater
- History of theater
- Screenplay
- Musical theater
Lists:
- List of basic theater topics
- List of American plays
- List of Canadian plays
- List of Romanian plays
- List of films based on stage plays or musicals
- List of plays made into feature films
The Tony Award for Stage/Theater including a List of Winners
YouTube Video from "The Lion King" Theatrical Play (a Disney Production)
Pictured: LEFT: "The Producers", Winner of a Tony Award for Best Musical (1979) by Mel Brooks Starring Nathan Lane and Matthew Broderick). RIGHT: "Evita", Winner of a Tony Award for Best Musical (1979), music by Andrew Lloyd Webber.
The Antoinette Perry Award for Excellence in Theatre, more commonly known as the Tony Award, recognizes achievement in live Broadway theatre. The awards are presented by the American Theatre Wing and The Broadway League at an annual ceremony in New York City.
The awards are given for Broadway productions and performances, and an award is given for regional theatre. Several discretionary non-competitive awards are also given, including a Special Tony Award, the Tony Honors for Excellence in Theatre, and the Isabelle Stevenson Award. The awards are named after Antoinette "Tony" Perry, co-founder of the American Theatre Wing.
The rules for the Tony Awards are set forth in the official document "Rules and Regulations of The American Theatre Wing's Tony Awards", which applies for that season only. The Tony Awards are considered the highest U.S. theatre honor, the New York theatre industry's equivalent to the Academy Awards (Oscars) for motion pictures, the Grammy Awards for music, the Emmy Awards for television and AIAS (D.I.C.E. Awards) for video games.
It also forms the fourth spoke in the EGOT, that is someone who has won all four awards. The Tony Awards are also considered the equivalent of the Laurence Olivier Award in the United Kingdom and the Molière Award of France.
From 1997 to 2010, the Tony Awards ceremony was held at Radio City Music Hall in New York City in June and broadcast live on CBS television, except in 1999, when it was held at the Gershwin Theatre.
In 2011 and 2012, the ceremony was held at the Beacon Theatre. From 2013 to 2015, the 67th, 68th, and 69th ceremonies returned to Radio City Music Hall. The 70th Tony Awards were held on June 12, 2016 at the Beacon Theatre.
Click here for a list of Tony Award Winners.
The awards are given for Broadway productions and performances, and an award is given for regional theatre. Several discretionary non-competitive awards are also given, including a Special Tony Award, the Tony Honors for Excellence in Theatre, and the Isabelle Stevenson Award. The awards are named after Antoinette "Tony" Perry, co-founder of the American Theatre Wing.
The rules for the Tony Awards are set forth in the official document "Rules and Regulations of The American Theatre Wing's Tony Awards", which applies for that season only. The Tony Awards are considered the highest U.S. theatre honor, the New York theatre industry's equivalent to the Academy Awards (Oscars) for motion pictures, the Grammy Awards for music, the Emmy Awards for television and AIAS (D.I.C.E. Awards) for video games.
It also forms the fourth spoke in the EGOT, that is someone who has won all four awards. The Tony Awards are also considered the equivalent of the Laurence Olivier Award in the United Kingdom and the Molière Award of France.
From 1997 to 2010, the Tony Awards ceremony was held at Radio City Music Hall in New York City in June and broadcast live on CBS television, except in 1999, when it was held at the Gershwin Theatre.
In 2011 and 2012, the ceremony was held at the Beacon Theatre. From 2013 to 2015, the 67th, 68th, and 69th ceremonies returned to Radio City Music Hall. The 70th Tony Awards were held on June 12, 2016 at the Beacon Theatre.
Click here for a list of Tony Award Winners.
The 10 Best Outdoor Theater Experiences courtesy of Fodor's Travel
YouTube Video of "Into the Woods Live" in the Central Park (complete)
Pictured: RIGHT: Muny Opera, St. Louis, MO; RIGHT: The Greek Theater, Los Angeles, CA
When the weather warms up, the arts move outdoors—and seeing a play or musical under a starry sky is one of the best ways to spend a summer evening. Fortunately, there’s no shortage of open-air venues across the country that let you take in a show while enjoying fresh air and scenic views.
From theaters nestled in the mountains, to one right in the middle of Central Park, here are the country’s 10 best spots for seeing live theater in the great outdoors.
From theaters nestled in the mountains, to one right in the middle of Central Park, here are the country’s 10 best spots for seeing live theater in the great outdoors.
Stage Playwrights including a List of Playwrights
YouTube Video of Steppenwolf Theatre Company's "Who's Afraid of Virginia Woolf?" at Arena Stage
Pictured: LEFT: Playwright Edward Albee’s play “Who’s Afraid of Virginia Woolf?”; RIGHT: Playwright Arthur Miller’s Play “Death of a Salesman”
A playwright, also known as a dramatist, is a person who writes plays.
Click Here for an alphabetical Listing and including all Countries.
Click Here for an alphabetical Listing and including all Countries.
Stage Plays made into a Movie
YouTube Video from the Movie "Birdcage" (1996) featuring Robin Williams and Nathan Lane
Pictured: Posters for the Movies LEFT: “Barefoot in the Park” (1967); RIGHT: Les Misérables (2012: by Source, Fair Use)
Broadway Theater District (Manhattan, New York)
YouTube Video: The Broadway District at Night
Pictured: A map of the Broadway Theater District and it primary Theatrical Venues
Broadway theater, commonly known as Broadway, refers to the theatrical performances presented in the 40 professional theaters with 500 or more seats located in the Theater District and Lincoln Center along Broadway, in Midtown Manhattan, New York City.
Broadway theaters are widely considered to represent the highest level of commercial theater in the English-speaking world.
The Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2015 – 2016 season (which ended May 22, 2016), total attendance was 13,317,980 and Broadway shows had US$1,373,253,725 in grosses, with attendance up 1.6%, grosses up 0.6%, and playing weeks up 1.4%.
The great majority of Broadway shows are musicals. Historian Martin Shefter argues, "'Broadway musicals,' culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and helped make New York City the cultural capital of the nation.
Click on any of the following for amplification:
Broadway theaters are widely considered to represent the highest level of commercial theater in the English-speaking world.
The Theater District is a popular tourist attraction in New York City. According to The Broadway League, for the 2015 – 2016 season (which ended May 22, 2016), total attendance was 13,317,980 and Broadway shows had US$1,373,253,725 in grosses, with attendance up 1.6%, grosses up 0.6%, and playing weeks up 1.4%.
The great majority of Broadway shows are musicals. Historian Martin Shefter argues, "'Broadway musicals,' culminating in the productions of Richard Rodgers and Oscar Hammerstein, became enormously influential forms of American popular culture" and helped make New York City the cultural capital of the nation.
Click on any of the following for amplification:
Hamilton (Musical)
YouTube Video Hamilton cast performs "Alexander Hamilton" at White House
Pictured: Lin-Manuel Miranda as "Alexander Hamilton"
Hamilton: An American Musical is a sung-through musical about the life of American Founding Father Alexander Hamilton, with music, lyrics and book by Lin-Manuel Miranda.
The show, inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow, achieved both critical acclaim and box office success.
The musical made its Off-Broadway debut at The Public Theater in February 2015, where its engagement was sold out. The show moved to Broadway in August 2015 at the Richard Rodgers Theatre.
On Broadway, it received enthusiastic critical reception and unprecedented advance box office sales. In 2016, Hamilton received a record-setting 16 Tony nominations, winning 11, including Best Musical, and was also the recipient of the 2016 Grammy Award for Best Musical Theater Album and the 2016 Pulitzer Prize for Drama. The prior off-Broadway production of Hamilton won the 2015 Drama Desk Award for Outstanding Musical as well as seven other Drama Desk Awards out of 14 total nominated categories.
The Chicago production of Hamilton opened at the PrivateBank Theatre in October 2016. A U.S. national tour is scheduled to begin performances in March 2017. A production of Hamilton will also open in the West End in November 2017 at the Victoria Palace Theatre.
Click on any of the following blue hyperlinks for more about the musical stage play "Hamilton":
The show, inspired by the 2004 biography Alexander Hamilton by historian Ron Chernow, achieved both critical acclaim and box office success.
The musical made its Off-Broadway debut at The Public Theater in February 2015, where its engagement was sold out. The show moved to Broadway in August 2015 at the Richard Rodgers Theatre.
On Broadway, it received enthusiastic critical reception and unprecedented advance box office sales. In 2016, Hamilton received a record-setting 16 Tony nominations, winning 11, including Best Musical, and was also the recipient of the 2016 Grammy Award for Best Musical Theater Album and the 2016 Pulitzer Prize for Drama. The prior off-Broadway production of Hamilton won the 2015 Drama Desk Award for Outstanding Musical as well as seven other Drama Desk Awards out of 14 total nominated categories.
The Chicago production of Hamilton opened at the PrivateBank Theatre in October 2016. A U.S. national tour is scheduled to begin performances in March 2017. A production of Hamilton will also open in the West End in November 2017 at the Victoria Palace Theatre.
Click on any of the following blue hyperlinks for more about the musical stage play "Hamilton":
- Background
- Synopsis
- Roles and principal casts
- Musical numbers
- Critical response
- Productions
- Box office and business
- Awards and nominations
- Concept
- Legacy and impact
- Parody
Andrew Lloyd Webber
YouTube Video 2013 February Concert; Ponaganset Concert Chorus: "Andrew Lloyd Webber in Concert"
Pictured: LEFT: Andrew Lloyd Webber on the cover of Time magazine; RIGHT: snippets of cast members of the Musical Cats that he composed.
Andrew Lloyd Webber, Baron Lloyd-Webber (born 22 March 1948) is an English composer and impresario of musical theatre.
Several of his musicals have run for more than a decade both in the West End and on Broadway.
He has composed 13 musicals, a song cycle, a set of variations, two film scores, and a Latin Requiem Mass.
Several of his songs have been widely recorded and were hits outside of their parent musicals, notably:
In 2001 the New York Times referred to him as "the most commercially successful composer in history". Ranked the "fifth most powerful person in British culture" by The Telegraph in 2008, the lyricist Don Black stated "Andrew more or less single-handedly reinvented the musical."
He has received a number of awards, including a knighthood in 1992, followed by a peerage from Queen Elizabeth II for services to Music, seven Tonys, three Grammys (as well as the Grammy Legend Award), an Academy Award, fourteen Ivor Novello Awards, seven Olivier Awards, a Golden Globe, a Brit Award, the 2006 Kennedy Center Honors, and the 2008 Classic Brit Award for Outstanding Contribution to Music.
He has a star on the Hollywood Walk of Fame, is an inductee into the Songwriter's Hall of Fame, and is a fellow of the British Academy of Songwriters, Composers and Authors.
His company, the Really Useful Group, is one of the largest theater operators in London. Producers in several parts of the UK have staged productions, including national tours, of the Lloyd Webber musicals under licence from the Really Useful Group.
Lloyd Webber is also the president of the Arts Educational Schools London, a performing arts school located in Chiswick, West London. He is involved in a number of charitable activities, including the Elton John AIDS Foundation, Nordoff Robbins, Prostate Cancer UK and War Child. In 1992 he set up the Andrew Lloyd Webber Foundation which supports the arts, culture and heritage in the UK.
Several of his musicals have run for more than a decade both in the West End and on Broadway.
He has composed 13 musicals, a song cycle, a set of variations, two film scores, and a Latin Requiem Mass.
Several of his songs have been widely recorded and were hits outside of their parent musicals, notably:
- "The Music of the Night" from The Phantom of the Opera,
- "I Don't Know How to Love Him" from Jesus Christ Superstar,
- "Don't Cry for Me, Argentina" and "You Must Love Me" from Evita,
- "Any Dream Will Do" from Joseph and the Amazing Technicolor Dreamcoat
- and "Memory" from Cats.
In 2001 the New York Times referred to him as "the most commercially successful composer in history". Ranked the "fifth most powerful person in British culture" by The Telegraph in 2008, the lyricist Don Black stated "Andrew more or less single-handedly reinvented the musical."
He has received a number of awards, including a knighthood in 1992, followed by a peerage from Queen Elizabeth II for services to Music, seven Tonys, three Grammys (as well as the Grammy Legend Award), an Academy Award, fourteen Ivor Novello Awards, seven Olivier Awards, a Golden Globe, a Brit Award, the 2006 Kennedy Center Honors, and the 2008 Classic Brit Award for Outstanding Contribution to Music.
He has a star on the Hollywood Walk of Fame, is an inductee into the Songwriter's Hall of Fame, and is a fellow of the British Academy of Songwriters, Composers and Authors.
His company, the Really Useful Group, is one of the largest theater operators in London. Producers in several parts of the UK have staged productions, including national tours, of the Lloyd Webber musicals under licence from the Really Useful Group.
Lloyd Webber is also the president of the Arts Educational Schools London, a performing arts school located in Chiswick, West London. He is involved in a number of charitable activities, including the Elton John AIDS Foundation, Nordoff Robbins, Prostate Cancer UK and War Child. In 1992 he set up the Andrew Lloyd Webber Foundation which supports the arts, culture and heritage in the UK.
Neil Simon
YouTube Video of Movie Trailer for the Odd Couple
Marvin Neil Simon (July 4, 1927 – August 26, 2018) was an American playwright, screenwriter and author. He has written more than thirty plays and nearly the same number of movie screenplays, mostly adaptations of his plays. He has received more combined Oscar and Tony nominations than any other writer.
Simon grew up in New York during the Great Depression, with his parents' financial hardships affecting their marriage, giving him a mostly unhappy and unstable childhood.
Simon often took refuge in movie theaters where he enjoyed watching the early comedians like Charlie Chaplin. After a few years in the Army Air Force Reserve, and after graduating from high school, he began writing comedy scripts for radio and some popular early television shows. Among them were Sid Caesar's Your Show of Shows from 1950 (where he worked alongside other young writers including Carl Reiner, Mel Brooks and Selma Diamond), and The Phil Silvers Show, which ran from 1955 to 1959.
Simon began writing his own plays beginning with Come Blow Your Horn (1961), which took him three years to complete and ran for 678 performances on Broadway. It was followed by two more successful plays, Barefoot in the Park (1963) and The Odd Couple (1965), for which he won a Tony Award. It made him a national celebrity and "the hottest new playwright on Broadway."
During the 1960s to 1980s, he wrote both original screenplays and stage plays, with some films actually based on his plays. His style ranged from romantic comedy to farce to more serious dramatic comedy. Overall, he has garnered seventeen Tony nominations and won three. During one season, he had four successful plays running on Broadway at the same time, and in 1983 became the only living playwright to have a New York theatre, the Neil Simon Theatre, named in his honor.
Click on any of the following blue hyperlinks for more about Neil Simon:
Simon grew up in New York during the Great Depression, with his parents' financial hardships affecting their marriage, giving him a mostly unhappy and unstable childhood.
Simon often took refuge in movie theaters where he enjoyed watching the early comedians like Charlie Chaplin. After a few years in the Army Air Force Reserve, and after graduating from high school, he began writing comedy scripts for radio and some popular early television shows. Among them were Sid Caesar's Your Show of Shows from 1950 (where he worked alongside other young writers including Carl Reiner, Mel Brooks and Selma Diamond), and The Phil Silvers Show, which ran from 1955 to 1959.
Simon began writing his own plays beginning with Come Blow Your Horn (1961), which took him three years to complete and ran for 678 performances on Broadway. It was followed by two more successful plays, Barefoot in the Park (1963) and The Odd Couple (1965), for which he won a Tony Award. It made him a national celebrity and "the hottest new playwright on Broadway."
During the 1960s to 1980s, he wrote both original screenplays and stage plays, with some films actually based on his plays. His style ranged from romantic comedy to farce to more serious dramatic comedy. Overall, he has garnered seventeen Tony nominations and won three. During one season, he had four successful plays running on Broadway at the same time, and in 1983 became the only living playwright to have a New York theatre, the Neil Simon Theatre, named in his honor.
Click on any of the following blue hyperlinks for more about Neil Simon:
- Early years
- Writing career
- Themes and genres
- Characters
- Style and subject matter
- Critical response
- Personal life
- Honors and recognition
- Awards
- Work
- See also:
- Neil Simon on IMDb
- Neil Simon at the Internet Broadway Database
- Neil Simon at the Internet Off-Broadway Database
- The Neil Simon Festival
- PBS article, American Masters
- James Lipton (Winter 1992). "Neil Simon, The Art of Theater No. 10". The Paris Review.
Tennessee Williams
YouTube Video of the Movie Trailer for the Movie "Streetcar Named Desire" (1951)
YouTube Video of the Movie Trailer for "Cat on a Hot Tin Roof" (1958)
Thomas Lanier "Tennessee" Williams III (March 26, 1911– February 25, 1983) was an American playwright. Along with Eugene O'Neill and Arthur Miller, he is considered among the three foremost playwrights of 20th-century American drama.
After years of obscurity, at age 33 he became suddenly famous with the success of The Glass Menagerie (1944) in New York City.This play closely reflected his own unhappy family background. It was the first of a string of successes, including:
With his later work, he attempted a new style that did not appeal to audiences. Increasing alcohol and drug dependence inhibited his creative expression. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.
Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.
Click here for more about Tennessee Williams.
After years of obscurity, at age 33 he became suddenly famous with the success of The Glass Menagerie (1944) in New York City.This play closely reflected his own unhappy family background. It was the first of a string of successes, including:
- A Streetcar Named Desire (1947),
- Cat on a Hot Tin Roof (1955),
- and Sweet Bird of Youth (1959).
With his later work, he attempted a new style that did not appeal to audiences. Increasing alcohol and drug dependence inhibited his creative expression. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.
Much of Williams' most acclaimed work has been adapted for the cinema. He also wrote short stories, poetry, essays and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.
Click here for more about Tennessee Williams.
Eugene O'Neill
YouTube of the Movie Trailer for "Long Day's Journey Into Night" (1962)
Eugene Gladstone O'Neill (October 16, 1888 – November 27, 1953) was an American playwright and Nobel laureate in Literature. His poetically titled plays were among the first to introduce into U.S. drama techniques of realism earlier associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg.
The drama Long Day's Journey into Night is often numbered on the short list of the finest U.S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire (above) and Arthur Miller's Death of a Salesman (below)
O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society. They struggle to maintain their hopes and aspirations, but ultimately slide into disillusionment and despair. Of his very few comedies, only one is well-known (Ah, Wilderness!).
Nearly all of his other plays involve some degree of tragedy and personal pessimism.
Click here for more about Eugene O'Neill.
The drama Long Day's Journey into Night is often numbered on the short list of the finest U.S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire (above) and Arthur Miller's Death of a Salesman (below)
O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society. They struggle to maintain their hopes and aspirations, but ultimately slide into disillusionment and despair. Of his very few comedies, only one is well-known (Ah, Wilderness!).
Nearly all of his other plays involve some degree of tragedy and personal pessimism.
Click here for more about Eugene O'Neill.
Arthur Miller
YouTube Video of the Movie Trailer for "Death of a Salesman" (1985)
Pictured below: Arthur Miller with his wife Marilyn Monroe
Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American playwright, essayist, and a major figure in the twentieth-century American theater.
Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953) and A View from the Bridge (1955, revised 1956). He also wrote several screenplays and was most noted for his work on The Misfits (1961).
The drama Death of a Salesman has been numbered on the short list of finest American plays in the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Tennessee Williams's A Streetcar Named Desire (see previous topics above).
Miller was often in the public eye, particularly during the late 1940s, 1950s and early 1960s. During this time, he was awarded the Pulitzer Prize for Drama; testified before the House Un-American Activities Committee; and was married to Marilyn Monroe.
In 1980, Miller received the St. Louis Literary Award from the Saint Louis University Library Associates. He received the Prince of Asturias Award and the Praemium Imperiale prize in 2002 and the Jerusalem Prize in 2003, as well as the Dorothy and Lillian Gish Lifetime Achievement Award.
Click here for more about Arthur Miller.
Among his most popular plays are All My Sons (1947), Death of a Salesman (1949), The Crucible (1953) and A View from the Bridge (1955, revised 1956). He also wrote several screenplays and was most noted for his work on The Misfits (1961).
The drama Death of a Salesman has been numbered on the short list of finest American plays in the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Tennessee Williams's A Streetcar Named Desire (see previous topics above).
Miller was often in the public eye, particularly during the late 1940s, 1950s and early 1960s. During this time, he was awarded the Pulitzer Prize for Drama; testified before the House Un-American Activities Committee; and was married to Marilyn Monroe.
In 1980, Miller received the St. Louis Literary Award from the Saint Louis University Library Associates. He received the Prince of Asturias Award and the Praemium Imperiale prize in 2002 and the Jerusalem Prize in 2003, as well as the Dorothy and Lillian Gish Lifetime Achievement Award.
Click here for more about Arthur Miller.
Stephen Sondheim, American composer and lyricist
- YouTube Video: Highlights from Broadway's "Sondheim on Sondheim"
- YouTube Video: Top 10 Ultimate Stephen Sondheim Musicals
- YouTube Video: A Tribute To Stephen Sondheim - Extended Interview With Stephen Colbert
Stephen Joshua Sondheim (/ˈsɒndhaɪm/; March 22, 1930 – November 26, 2021) was an American composer and lyricist. Regarded as one of the most important figures in 20th-century musical theater, he is credited for reinventing the American musical.
With his frequent collaborations with Hal Prince and James Lapine, Sondheim's Broadway musicals tackled unexpected themes that ranged beyond the genre's traditional subjects, while addressing darker elements of the human experience. His music and lyrics were tinged with complexity, sophistication, and ambivalence about various aspects of life.
Sondheim's interest in musical theater began at a young age, and he was mentored by Oscar Hammerstein II. He began his career by writing the lyrics for West Side Story (1957) and Gypsy (1959).
He transitioned to writing both music and lyrics for the theater, with his best-known works including:
Sondheim's numerous awards and nominations include:
A theater is named after him both on Broadway and in the West End of London. Film adaptations of his works include:
Early life and education:
Sondheim was born on March 22, 1930, into a Jewish family in New York City, the son of Etta Janet ("Foxy"; née Fox; 1897–1992) and Herbert Sondheim (1895–1966). His paternal grandparents, Isaac and Rosa, were German Jews, and his maternal grandparents, Joseph and Bessie, were Lithuanian Jews from Vilnius. His father manufactured dresses designed by his mother.
The composer grew up on the Upper West Side of Manhattan and, after his parents divorced, on a farm near Doylestown, Pennsylvania. The only child of affluent parents living in the San Remo at 145 Central Park West, he was described in Meryle Secrest's biography Stephen Sondheim: A Life as an isolated, emotionally neglected child.
When he lived in New York City, Sondheim attended the Ethical Culture Fieldston School. He spent several summers at Camp Androscoggin. His mother sent him to New York Military Academy in 1940. From 1942 to 1947, he attended George School, a private Quaker preparatory school in Bucks County, Pennsylvania, where he wrote his first musical, By George, in 1946.
From 1946 to 1950, Sondheim attended Williams College. He graduated magna cum laude and received the Hubbard Hutchinson Prize, a two-year fellowship to study music.
Sondheim traced his interest in theater to Very Warm for May, a Broadway musical he saw when he was nine. "The curtain went up and revealed a piano", Sondheim recalled. "A butler took a duster and brushed it up, tinkling the keys. I thought that was thrilling."
Sondheim detested his mother, who was said to be psychologically abusive and to have projected her anger from her failed marriage onto her son: "When my father left her, she substituted me for him. And she used me the way she used him, to come on to and to berate, beat up on, you see. What she did for five years was treat me like dirt, but come on to me at the same time."
She once wrote him a letter saying that the only regret she ever had was giving birth to him. When she died in 1992, Sondheim did not attend her funeral. He had been estranged from her for nearly 20 years.
Mentorship by Oscar Hammerstein II:
When Sondheim was about ten years old (around the time of his parents' divorce), he formed a close friendship with James Hammerstein, son of lyricist and playwright Oscar Hammerstein II, who were neighbors in Bucks County.
The elder Hammerstein became Sondheim's surrogate father, influencing him profoundly and developing his love of musical theater. Sondheim met Hal Prince, who later directed many of his shows, at the opening of South Pacific, Hammerstein's musical with Richard Rodgers.
The comic musical Sondheim wrote at George School, By George, was a success among his peers and buoyed his self-esteem. When he asked Hammerstein to evaluate it as though he had no knowledge of its author, he said it was the worst thing he had ever seen: "But if you want to know why it's terrible, I'll tell you." They spent the rest of the day going over the musical, and Sondheim later said, "In that afternoon I learned more about songwriting and the musical theater than most people learn in a lifetime."
Hammerstein designed a course of sorts for Sondheim on constructing a musical. He had the young composer write four musicals, each with one of the following conditions:
None of the "assignment" musicals were produced professionally. High Tor and Mary Poppins have never been produced: the rights holder for the original High Tor refused permission (though a musical version by Arthur Schwartz was produced for television in 1956), and Mary Poppins was unfinished.
Hammerstein's death:
Hammerstein died of stomach cancer on August 23, 1960, aged 65. Sondheim later recalled that Hammerstein had given him a portrait of himself. Sondheim asked him to inscribe it, and said later of the request that it was "weird...it's like asking your father to inscribe something."
Reading the inscription ("For Stevie, My Friend and Teacher") choked up the composer, who said, "That describes Oscar better than anything I could say."
Education:
Sondheim began attending Williams College, a liberal arts college in Williamstown, Massachusetts, whose theater program attracted him.
His first teacher there was Robert Barrow: "everybody hated him because he was very dry, and I thought he was wonderful because he was very dry. And Barrow made me realize that all my romantic views of art were nonsense. I had always thought an angel came down and sat on your shoulder and whispered in your ear "dah-dah-dah-DUM." It never occurred to me that art was something worked out.
And suddenly it was skies opening up. As soon as you find out what a leading tone is, you think, Oh my God. What a diatonic scale is – Oh my God! The logic of it. And, of course, what that meant to me was: Well, I can do that. Because you just don't know. You think it's a talent, you think you're born with this thing. What I've found out and what I believed is that everybody is talented. It's just that some people get it developed and some don't."
The composer told Meryle Secrest: "I just wanted to study composition, theory, and harmony without the attendant musicology that comes in graduate school. But I knew I wanted to write for the theater, so I wanted someone who did not disdain theater music." Barrow suggested that Sondheim study with Milton Babbitt, whom Sondheim called "a frustrated show composer" with whom he formed "a perfect combination".
When they met, Babbitt was working on a musical for Mary Martin based on the myth of Helen of Troy. The two met once a week in New York City for four hours. (At the time, Babbitt was teaching at Princeton University.) According to Sondheim, they spent the first hour dissecting Rodgers and Hart or George Gershwin or studying Babbitt's favorites (Buddy DeSylva, Lew Brown, and Ray Henderson).
They then proceeded to other forms of music (such as Mozart's Jupiter Symphony), critiquing them the same way. Fascinated by mathematics, Babbitt and Sondheim studied songs by a variety of composers (especially Jerome Kern). Sondheim told Seacrest that Kern had the ability "to develop a single motif through tiny variations into a long and never boring line and his maximum development of the minimum of material".
He said of Babbitt, "I am his maverick, his one student who went into the popular arts with all his serious artillery". At Williams, Sondheim wrote a musical adaptation of Beggar on Horseback (a 1924 play by George S. Kaufman and Marc Connelly, with Kaufman's permission) that had three performances. A member of the Beta Theta Pi fraternity, he graduated magna cum laude in 1950.
"A few painful years of struggle" followed, when Sondheim auditioned songs, lived in his father's dining room to save money, and spent time in Hollywood writing for the television series Topper. He devoured 1940s and 1950s films, and called cinema his "basic language" his film knowledge got him through The $64,000 Question contestant tryouts. Sondheim disliked movie musicals, favoring classic dramas such as Citizen Kane, The Grapes of Wrath, and A Matter of Life and Death: "Studio directors like Michael Curtiz and Raoul Walsh ... were heroes of mine.
They went from movie to movie to movie, and every third movie was good and every fifth movie was great. There wasn't any cultural pressure to make art".
At age 22, Sondheim had finished the four shows Hammerstein requested.
Screenwriters Julius and Philip Epstein's Front Porch in Flatbush, unproduced at the time, was being shopped around by designer and producer Lemuel Ayers. Ayers approached Frank Loesser and another composer; both turned him down. Ayers and Sondheim met as ushers at a wedding, and Ayers commissioned Sondheim for three songs for the show; Julius Epstein flew in from California and hired Sondheim, who worked with him in California for four or five months.
After eight auditions for backers, half the money needed was raised. The show, retitled Saturday Night, was intended to open during the 1954–55 Broadway season, but Ayers died of leukemia in his early forties. The production rights transferred to his widow, Shirley, and due to her inexperience the show did not continue as planned; it opened off-Broadway in 2000.
Sondheim later said, "I don't have any emotional reaction to Saturday Night at all – except fondness. It's not bad stuff for a 23-year-old. There are some things that embarrass me so much in the lyrics – the missed accents, the obvious jokes. But I decided, leave it. It's my baby pictures. You don't touch up a baby picture – you're a baby!"
Career:
1954–1959: Early Broadway success:
Burt Shevelove invited Sondheim to a party where Sondheim arrived before him but knew no one else well. He saw a familiar face, Arthur Laurents, who had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood. He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein.
The next day, Sondheim met and played for Bernstein, who said he would let him know. Sondheim wanted to write music and lyrics; he consulted with Hammerstein, who said, as Sondheim related in a 2008 New York Times video interview, "Look, you have a chance to work with very gifted professionals on a show that sounds interesting, and you could always write your own music eventually. My advice would be to take the job."
West Side Story, directed by Jerome Robbins, opened in 1957 and ran for 732 performances. Sondheim expressed dissatisfaction with his lyrics, saying they did not always fit the characters and were sometimes too consciously poetic. Initially Bernstein was also credited as a co-writer of the lyrics, but he later offered Sondheim solo credit, as Sondheim had essentially done all of them.
The New York Times review of the show did not mention the lyrics. Sondheim described the division of the royalties, saying that Bernstein received 3% and he received 1%. Bernstein suggested evening the percentage at 2% each, but Sondheim refused because he was satisfied with just getting the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage".
After West Side Story opened, Shevelove lamented the lack of "lowbrow comedy" on Broadway and mentioned a possible musical based on Plautus's Roman comedies. Sondheim was interested in the idea and called a friend, Larry Gelbart, to co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project.
In 1959, Laurents and Robbins approached Sondheim for a musical version of Gypsy Rose Lee's memoir after Irving Berlin and Cole Porter turned it down. Sondheim agreed, but Ethel Merman – cast as Mama Rose – had just finished Happy Hunting with an unknown composer (Harold Karr) and lyricist (Matt Dubey). Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music.
Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, 1959, and ran for 702 performances.
1962–1966: Music and lyrics:
The first Broadway production for which Sondheim wrote the music and lyrics was A Funny Thing Happened on the Way to the Forum, which opened in 1962 and ran for 964 performances.
The book, based on farces by Plautus, was by Burt Shevelove and Larry Gelbart. The show won six Tony Awards (including Best Musical) and had the longest Broadway run of any show for which Sondheim wrote both music and lyrics.
Sondheim had participated in three straight hits, but his next show – 1964's Anyone Can Whistle – was a nine-performance bomb (although it introduced Angela Lansbury to musical theater).
Do I Hear a Waltz?, based on Laurents's 1952 play The Time of the Cuckoo, was intended as another Rodgers and Hammerstein musical with Mary Martin in the lead. A new lyricist was needed, and Laurents and Rodgers' daughter, Mary, asked Sondheim to fill in. Although Richard Rodgers and Sondheim agreed that the original play did not lend itself to musicalization, they began writing a musical version. The project had many difficulties, including Rodgers's alcoholism.
Sondheim later called it the one project he truly regretted writing, given that the reasons he wrote it – as a favor to Mary, as a favor to Hammerstein, as an opportunity to work again with Laurents, and as an opportunity to make money – were not reasons to write a musical. He then decided to work only when he could write both music and lyrics.
Sondheim asked author and playwright James Goldman to join him as bookwriter for a new musical. Inspired by a New York Times article about a gathering of former Ziegfeld Follies showgirls, originally titled The Girls Upstairs, it became Follies.
In 1966, Sondheim semi-anonymously provided lyrics for "The Boy From...", a parody of "The Girl from Ipanema" in the off-Broadway revue The Mad Show. The song was credited to "Esteban Río Nido", Spanish for "Stephen River Nest", and in the show's playbill the lyrics were credited to "Nom De Plume".
That year Goldman and Sondheim hit a creative wall on The Girls Upstairs, and Goldman asked Sondheim about writing a TV musical. The result was Evening Primrose, with Anthony Perkins and Charmian Carr. Written for the anthology series ABC Stage 67 and produced by Hubbell Robinson, it was broadcast on November 16, 1966.
According to Sondheim and director Paul Bogart, the musical was written only because Goldman needed money for rent. The network disliked the title and Sondheim's alternative, A Little Night Music.
After Sondheim finished Evening Primrose, Jerome Robbins asked him to adapt Bertolt Brecht's The Measures Taken despite the composer's general dislike of Brecht's work.
Robbins wanted to adapt another Brecht play, The Exception and the Rule, and asked John Guare to adapt the book. Leonard Bernstein had not written for the stage in some time, and his contract as conductor of the New York Philharmonic was ending.
Sondheim was invited to Robbins's house in the hope that Guare would convince him to write the lyrics for a musical version of The Exception and the Rule; according to Robbins, Bernstein would not work without Sondheim. When Sondheim agreed, Guare asked: "Why haven't you all worked together since West Side Story?"
Sondheim answered, "You'll see". Guare said that working with Sondheim was like being with an old college roommate, and he depended on him to "decode and decipher their crazy way of working"; Bernstein worked only after midnight, and Robbins only in the early morning. Bernstein's score, which was supposed to be light, was influenced by his need to make a musical statement.
Stuart Ostrow, who worked with Sondheim on The Girls Upstairs, agreed to produce the musical, initially titled A Pray by Blecht, then The Race to Urga. An opening night was scheduled, but during auditions Robbins asked to be excused for a moment. When he did not return, a doorman said he had gotten into a limousine to go to John F. Kennedy International Airport. Bernstein burst into tears and said, "It's over".
Sondheim later said of this experience: "I was ashamed of the whole project. It was arch and didactic in the worst way." He wrote one and a half songs and threw them away, the only time he ever did that. Eighteen years later, Sondheim refused Bernstein's and Robbins's request to retry the show.
Sondheim lived in a Turtle Bay, Manhattan brownstone from his writing of Gypsy in 1959. Ten years later, he heard a knock on the door. His neighbor, Katharine Hepburn, was in "bare feet – this angry, red-faced lady" and told him "You have been keeping me awake all night!" (she was practicing for her musical debut in Coco). "I remember asking Hepburn why she didn't just call me, but she claimed not to have my phone number. My guess is that she wanted to stand there in her bare feet, suffering for her art".
1970–1981: Collaborations with Hal Prince:
After Do I Hear a Waltz?, Sondheim devoted himself solely to writing both music and lyrics for the theater – and in 1970, he began a collaboration with director Harold Prince resulting in a body of work that is considered one of the high water marks of musical theater history, with critic Howard Kissel writing that the duo had set "Broadway's highest standards".
The first Sondheim show with Prince as director was 1970's Company. A show about a single man and his married friends, Company (with a book by George Furth) lacked a straightforward plot, instead centering on themes such as marriage and the difficulty of making an emotional connection with another person.
It opened on April 26, 1970, at the Alvin Theatre, running for 705 performances after seven previews, and won Tony Awards for Best Musical, Best Music, and Best Lyrics. Company was revived on Broadway in 1995, 2006, and 2020/2021 (the last revival began previews in March 2020, but shut down before resuming in November 2021 due to the ongoing COVID-19 pandemic; in this revival, the main character was a woman).
Follies (1971), with a book by James Goldman, opened on April 4, 1971, at the Winter Garden Theatre and ran for 522 performances after 12 previews. The plot centers on a reunion, in a crumbling Broadway theater scheduled for demolition, of performers in Weismann's Follies (a musical revue, based on the Ziegfeld Follies, which played in that theater between the world wars).
The production also featured choreography and co-direction by Michael Bennett, who later created A Chorus Line (1975). The show was revived on Broadway in 2001 and 2011.
A Little Night Music (1973), with a more traditional plot based on Ingmar Bergman's Smiles of a Summer Night and a score primarily in waltz time, was among Sondheim's greatest commercial successes. Time magazine called it his "most brilliant accomplishment to date".
"Send in the Clowns", a song from the musical, was a hit for Judy Collins and became Sondheim's best-known song. The show opened on Broadway at the Shubert Theatre on February 25, 1973, and ran for 601 performances and 12 previews. It was revived on Broadway in 2009.
Pacific Overtures (1976), with a book by John Weidman, was one of Sondheim's most unconventional efforts: it explored the westernization of Japan, and was originally presented in a mock-Kabuki style. The show closed after a run of 193 performances, and was revived on Broadway in 2004.
Sweeney Todd: The Demon Barber of Fleet Street (1979), with a score by Sondheim and a book by Hugh Wheeler, is based on Christopher Bond's 1973 stage play derived from the Victorian original. It was revived on Broadway in 1989 and 2005; a Broadway revival at the Lunt-Fontaine Theatre opened in March 2023, after February previews.
Merrily We Roll Along (1981), with a book by George Furth, is one of Sondheim's most traditional scores; songs from the musical were recorded by Frank Sinatra and Carly Simon.
According to Sondheim's music director Paul Gemignani, "Part of Steve's ability is this extraordinary versatility". The show was not the success their previous collaborations had been: after a chaotic series of preview performances, it opened to widely negative reviews, and closed after a run of less than two weeks. Due to the high quality of Sondheim's score, the show has been repeatedly revised and produced in the ensuing years.
Martin Gottfried wrote, "Sondheim had set out to write traditional songs ... But [despite] that there is nothing ordinary about the music." Sondheim later said: "Did I feel betrayed? I'm not sure I would put it like that. What did surprise me was the feeling around the Broadway community – if you can call it that, though I guess I will for lack of a better word – that they wanted Hal and me to fail."
An acclaimed feature documentary on the show and its aftermath, Best Worst Thing That Ever Could Have Happened, directed by Merrily cast member Lonny Price, and produced by Bruce David Klein, Kitt Lavoie, and Ted Schillinger, premiered at the New York Film Festival on November 18, 2016. A film adaptation of Merrily We Roll Along, directed by Richard Linklater, began production in 2019 and is planned to continue over the following two decades, to allow the actors to age in real time.
An Off-Broadway revival starring Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez ran between November 2022 and January 2023 at the New York Theatre Workshop, and is set to move to Broadway in fall 2023.
1984–1994: Collaborations with James Lapine:
Merrily's failure greatly affected Sondheim; he was ready to quit theater and do movies, create video games or write mysteries: "I wanted to find something to satisfy myself that does not involve Broadway and dealing with all those people who hate me and hate Hal."
After Merrily, Sondheim and Prince did not collaborate again until their 2003 production of Bounce.
Sondheim decided "that there are better places to start a show" and found a new collaborator in James Lapine after he saw Lapine's Twelve Dreams off-Broadway in 1981: "I was discouraged, and I don't know what would have happened if I hadn't discovered Twelve Dreams at the Public Theatre"; Lapine has a taste "for the avant-garde and for visually oriented theater in particular". Their first collaboration was Sunday in the Park with George (1984), with Sondheim's music evoking Georges Seurat's pointillism.
Sondheim and Lapine won the 1985 Pulitzer Prize for Drama for the play, and it was revived on Broadway in 2008, and again in a limited run in 2017.
They collaborated on Into the Woods (1987), a musical based on several Brothers Grimm fairy tales. Although Sondheim has been called the first composer to bring rap music to Broadway (with the Witch in the opening number of Into the Woods), he attributed the first rap in theater to Meredith Willson's "Rock Island" from The Music Man (1957). Into the Woods was revived on Broadway in 2002 and at the St. James Theatre in 2022.
Sondheim's and Lapine's last collaboration on a musical was the rhapsodic Passion (1994), adapted from Ettore Scola's Italian film Passione D'Amore. With a run of 280 performances, Passion was the shortest-running show to win a Tony Award for Best Musical.
In 2013, Lapine directed the HBO feature-length documentary Six by Sondheim, which he executive produced with former New York Times theater critic Frank Rich, an old friend and longtime champion of Sondheim's work. Sondheim himself acts and sings in the documentary as Joe, the cynical theater producer in the song "Opening Doors".
1990–2021: Later work:
Assassins opened off-Broadway at Playwrights Horizons on December 18, 1990, with a book by John Weidman. The show explored, in revue form, a group of historical figures who tried (with varying success) to assassinate the President of the United States.
The musical closed on February 16, 1991, after 73 performances. The Los Angeles Times reported the show "has been sold out since previews began, reflecting the strong appeal of Sondheim's work among the theater crowd."
In his review for The New York Times, Frank Rich wrote, "Assassins will have to fire with sharper aim and fewer blanks if it is to shoot to kill." Assassins was eventually staged on Broadway in 2004.
Saturday Night was shelved until its 1997 production at London's Bridewell Theatre. The next year, its score was recorded; a revised version, with two new songs, ran off-Broadway at Second Stage Theatre in 2000 and at London's Jermyn Street Theatre in 2009.
During the late 1990s, Sondheim and Weidman reunited for Wise Guys, a musical comedy based on the lives of colorful businessmen Addison and Wilson Mizner.
A Broadway production, starring Nathan Lane and Victor Garber, directed by Sam Mendes and planned for the spring of 2000, was delayed. Renamed Bounce in 2003, it was produced at the Goodman Theatre in Chicago and the Kennedy Center in Washington, D.C., in a production directed by Harold Prince, his first collaboration with Sondheim since 1981.
Although after poor reviews Bounce never reached Broadway, a revised version opened off-Broadway as Road Show at the Public Theater on October 28, 2008. Directed by John Doyle, it closed on December 28, 2008. The production won the 2009 Obie Award for Music and Lyrics and the Drama Desk Award for Outstanding Lyrics.
Asked about writing new work, Sondheim replied in 2006: "No ... It's age. It's a diminution of energy and the worry that there are no new ideas. It's also an increasing lack of confidence. I'm not the only one. I've checked with other people. People expect more of you and you're aware of it and you shouldn't be." In December 2007, he said that in addition to continuing work on Bounce, he was "nibbling at a couple of things with John Weidman and James Lapine".
Lapine prepared the multimedia production iSondheim: aMusical Revue, which was scheduled to open in April 2009 at the Alliance Theatre in Atlanta; it was canceled due to "difficulties encountered by the commercial producers attached to the project ... in raising the necessary funds".
Later revised as Sondheim on Sondheim, the revue was produced at Studio 54 by the Roundabout Theatre Company; previews began on March 19, 2010, and ran from April 22 to June 13. The revue's cast included Barbara Cook, Vanessa L. Williams, Tom Wopat, Norm Lewis, and Leslie Kritzer.
Sondheim collaborated with Wynton Marsalis on A Bed and a Chair: A New York Love Affair, an Encores! concert on November 13–17, 2013, at New York City Center. Directed by John Doyle with choreography by Parker Esse, it consisted of "more than two dozen Sondheim compositions, each piece newly reimagined by Marsalis".
The concert featured:
In Playbill, Steven Suskin called the concert "neither a new musical, a revival, nor a standard songbook revue; it is, rather, a staged-and-sung chamber jazz rendition of a string of songs ...
Half of the songs come from Company and Follies; most of the other Sondheim musicals are represented, including the lesser-known Passion and Road Show"
For the 2014 film adaptation of Into the Woods, Sondheim wrote the new song "She'll Be Back", sung by The Witch, which was cut from the film.
In February 2012, it was announced that Sondheim would collaborate on a new musical with David Ives, and he had "about 20–30 minutes of the musical completed". The show, tentatively called All Together Now, was assumed to follow the format of Merrily We Roll Along.
Sondheim described the project as "two people and what goes into their relationship ... We'll write for a couple of months, then have a workshop. It seemed experimental and fresh 20 years ago. I have a feeling it may not be experimental and fresh anymore".
On October 11, 2014, it was confirmed the Sondheim and Ives musical would be based on two Luis Buñuel films (The Exterminating Angel and The Discreet Charm of the Bourgeoisie) and would reportedly open in previews at the Public Theater in 2017.
A reading for the musical was held at the Public Theater in August 2016, despite only the first act being finished, which cast doubt on the speculated 2017 previews.
A November 2016 workshop included participants:
Mistakenly given the working title Buñuel by the New York Post and other outlets, Sondheim clarified in 2017 that the show still had no title. The Public Theatre denied reports that the musical would be part of its 2019–20 season, but hoped to produce the show "when it is ready".
Development reportedly ceased for a time, but resumed for a September 2021 reading of the musical, then called Square One. Nathan Lane and Bernadette Peters were involved in a reading of this new work, and Sondheim discussed adapting the Buñuel films in the final interview before his death.
A posthumous premiere of the collaboration, now titled Here We Are, is slated for The Shed in September 2023.
Other projects:
Conversations with Frank Rich and others:
The Kennedy Center staged a 15-week repertory festival of six Sondheim musicals--Sweeney Todd, Company, Sunday in the Park with George, Merrily We Roll Along, Passion, and A Little Night Music—from May to August 2002.
The Kennedy Center Sondheim Celebration also included Pacific Overtures, a junior version of Into the Woods, and Frank Rich of The New York Times speaking with the composer for Sondheim on Sondheim on April 28, 2002.
The two men took their discussion, dubbed "A Little Night Conversation with Stephen Sondheim", on a West Coast tour of different U.S. cities including Santa Barbara, San Francisco, Los Angeles, and Portland, Oregon in March 2008, then to Oberlin College in September.
The Cleveland Jewish News reported on their Oberlin appearance: "Sondheim said: 'Movies are photographs; the stage is larger than life.' What musicals does Sondheim admire the most? Porgy and Bess tops a list which includes Carousel, She Loves Me, and The Wiz, which he saw six times. Sondheim took a dim view of today's musicals. What works now, he said, are musicals that are easy to take; audiences don't want to be challenged".
Sondheim and Rich had additional conversations: January 18, 2009, at Avery Fisher Hall; February 2 at the Landmark Theatre in Richmond, Virginia; March February 21 at the Kimmel Center in Philadelphia; and April 20 at the University of Akron in Ohio.
The conversations were reprised at Tufts and Brown University in February 2010, at the University of Tulsa in April, and at Lafayette College in March 2011.
Sondheim had another "conversation with" Sean Patrick Flahaven (associate editor of The Sondheim Review) at the Kravis Center in West Palm Beach on February 4, 2009, in which he discussed many of his songs and shows: "On the perennial struggles of Broadway: 'I don't see any solution for Broadway's problems except subsidized theatre, as in most civilized countries of the world.'"
On February 1, 2011, Sondheim joined former Salt Lake Tribune theater critic Nancy Melich before an audience of 1,200 at Kingsbury Hall.
Melich described the evening: "He was visibly taken by the university choir, who sang two songs during the evening, "Children Will Listen" and "Sunday", and then returned to reprise "Sunday". During that final moment, Sondheim and I were standing, facing the choir of students from the University of Utah's opera program, our backs to the audience, and I could see tears welling in his eyes as the voices rang out. Then, all of a sudden, he raised his arms and began conducting, urging the student singers to go full out, which they did, the crescendo building, their eyes locked with his, until the final "on an ordinary Sunday" was sung. It was thrilling, and a perfect conclusion to a remarkable evening – nothing ordinary about it."
On March 13, 2008, A Salon with Stephen Sondheim (which sold out in three minutes) was hosted by the Academy for New Musical Theatre in Hollywood.
Work away from Broadway:
Sondheim was an avid fan of puzzles and games. He is credited with introducing cryptic crosswords, a British invention, to American audiences through a series of cryptic crossword puzzles he created for New York magazine in 1968 and 1969.
Sondheim was "legendary" in theater circles for "concocting puzzles, scavenger hunts and murder-mystery games," inspiring the central character of Anthony Shaffer's 1970 play Sleuth.
Sondheim's love of puzzles and mysteries is evident in The Last of Sheila, an intricate whodunit written with longtime friend Anthony Perkins. The 1973 film, directed by Herbert Ross, featured:
Sondheim also wrote occasional music for film: most notably, he contributed five songs to Warren Beatty's 1990 film Dick Tracy, including the ballad "Sooner or Later (I Always Get My Man)", sung in the film by Madonna, which won the Academy Award for Best Original Song.
He also contributed to Reds (both to the score, and with the song "Goodbye for Now"), The Seven-Per-Cent Solution ("The Madam's Song", later recorded as "I Never Do Anything Twice"), Stavisky (writing the score), and The Birdcage ("Little Dream", and the eventually cut "It Takes All Kinds").
For the 2014 movie adaptation of Into the Woods, Sondheim wrote the new song "She'll Be Back" for the character of The Witch (played by Meryl Streep), which was eventually cut.
Sondheim collaborated with Company librettist George Furth to write the play Getting Away with Murder in 1996; the Broadway production closed after 31 previews and only 17 performances.
In 2003, he was invited to serve as guest curator for the Telluride Film Festival.
Mentoring:
After he was mentored by Hammerstein, Sondheim returned the favor, saying that he loved "passing on what Oscar passed on to me". In an interview with Sondheim for The Legacy Project, composer-lyricist Adam Guettel (son of Mary Rodgers and grandson of Richard Rodgers) recalled how as a 14-year-old boy he showed Sondheim his work.
Guettel was "crestfallen" since he had come in "sort of all puffed up thinking [he] would be rained with compliments and things", which was not the case since Sondheim had some "very direct things to say". Later, Sondheim wrote and apologized to Guettel for being "not very encouraging" when he was actually trying to be "constructive".
Sondheim also mentored a fledgling Jonathan Larson, attending Larson's workshop for his Superbia (originally an adaptation of Nineteen Eighty-Four). In Larson's musical Tick, Tick... Boom!, the phone message is played in which Sondheim apologizes for leaving early, says he wants to meet him and is impressed with his work.
After Larson's death, Sondheim called him one of the few composers "attempting to blend contemporary pop music with theater music, which doesn't work very well; he was on his way to finding a real synthesis. A good deal of pop music has interesting lyrics, but they are not theater lyrics". A musical-theater composer "must have a sense of what is theatrical, of how you use music to tell a story, as opposed to writing a song. Jonathan understood that instinctively."
Around 2008, Sondheim approached Lin-Manuel Miranda to work with him translating West Side Story lyrics into Spanish for an upcoming Broadway revival. Miranda then approached Sondheim with his new project Hamilton, then called The Hamilton Mixtape, which Sondheim gave notes on.
Sondheim was originally wary of the project, saying he was "worried that an evening of rap might get monotonous". But he believed Miranda's attention to, and respect for, good rhyming made it work.
Sondheim provided a voice cameo for the 2021 film adaptation of Tick, Tick... Boom!, directed by Miranda, for the scene in which a fictionalized version of himself leaves a phone message. Sondheim worked on a revised text of the message and voiced it himself after Bradley Whitford, who portrays him, was unavailable to rerecord the line.
Sondheim makes a posthumous cameo appearance as himself in the 2022 Netflix film Glass Onion: A Knives Out Mystery.
Dramatists Guild:
A supporter of writers' rights in the theater industry, Sondheim was an active member of the Dramatists Guild of America. In 1973, he was elected as the Guild's 16th president, serving until 1981.
Unrealized projects:
According to Sondheim, he was asked to translate Mahagonny-Songspiel: "But I'm not a Brecht/Weill fan and that's really all there is to it. I'm an apostate: I like Weill's music when he came to America better than I do his stuff before ... I love The Threepenny Opera but, outside of The Threepenny Opera, the music of his I like is the stuff he wrote in America – when he was not writing with Brecht, when he was writing for Broadway."
He turned down an offer to musicalize Nathanael West's A Cool Million with James Lapine c. 1982.
Around 1960, Sondheim and Burt Shevelove considered making a musical of the film Sunset Boulevard, and had sketched out the opening scenes when they approached the film's director Billy Wilder at a cocktail party on the possibility. Wilder rejected the idea, believing the story was more suited to opera than musical theater. Sondheim agreed, and resisted a later offer from Prince and Hugh Wheeler to create a musical version starring Angela Lansbury.
This occurred several years before a musical version was produced by Andrew Lloyd Webber.
Sondheim and Leonard Bernstein wrote The Race to Urga, scheduled for Lincoln Center in 1969, but after Jerome Robbins left the project, it was not produced.
After writing The Last of Sheila together, Sondheim and Anthony Perkins tried to collaborate again two more times, but the projects were unrealized. In 1975, Perkins said he and Sondheim were working on another script, The Chorus Girl Murder Case: "It's a sort of stew based on all those Bob Hope wartime comedies, plus a little Lady of Burlesque and a little Orson Welles magic show, all cooked into a Last of Sheila-type plot". He later said other inspirations were They Got Me Covered, The Ipcress File, and Cloak and Dagger.
They had sold the synopsis in October 1974. At one point, Michael Bennett was to direct, with Tommy Tune to star. In November 1979, Sondheim said they had finished it, but the film was never made. In the 1980s, Perkins and Sondheim collaborated on another project, the seven-part Crime and Variations for Motown Productions.
In October 1984 they had submitted a treatment to Motown. It was a 75-page treatment set in the New York socialite world about a crime puzzle – another writer was to write the script. It, too, was never made.
In 1991, Sondheim worked with Terrence McNally on a musical, All Together Now. McNally said, "Steve was interested in telling the story of a relationship from the present back to the moment when the couple first met. We worked together a while, but we were both involved with so many other projects that this one fell through". The story follows Arden Scott, a 30-something female sculptor, and Daniel Nevin, a slightly younger, sexually attractive restaurateur.
Its script, with concept notes by McNally and Sondheim, is archived in the Harry Ransom Center at the University of Texas at Austin.
Sondheim worked with William Goldman on Singing Out Loud, a musical film, in 1992, penning the song "Water Under the Bridge". According to Sondheim, he had written six and a half songs and Goldman one or two drafts of the script when director Rob Reiner lost interest in the project. "Dawn" and "Sand", from the film, were recorded for the albums Sondheim at the Movies and Unsung Sondheim.
In August 2003, Sondheim expressed interest in the idea of creating a musical adaptation of the 1993 comedy film Groundhog Day, but in a 2008 live chat, he said that "to make a musical of Groundhog Day would be to gild the lily. It cannot be improved."
The musical was later created and premiered in 2016 with music and lyrics by Tim Minchin and book by Danny Rubin (screenwriter of the film) with Sondheim's blessing.
Nathan Lane said that he once approached Sondheim about creating a musical based on the film Being There with Lane starring as the central character of Chance. Sondheim declined on the basis that the central character is essentially a cipher, whom an audience would not accept expressing himself through song.
Major works:
Main article: Works of Stephen Sondheim
With his frequent collaborations with Hal Prince and James Lapine, Sondheim's Broadway musicals tackled unexpected themes that ranged beyond the genre's traditional subjects, while addressing darker elements of the human experience. His music and lyrics were tinged with complexity, sophistication, and ambivalence about various aspects of life.
Sondheim's interest in musical theater began at a young age, and he was mentored by Oscar Hammerstein II. He began his career by writing the lyrics for West Side Story (1957) and Gypsy (1959).
He transitioned to writing both music and lyrics for the theater, with his best-known works including:
- A Funny Thing Happened on the Way to the Forum (1962),
- Company (1970),
- Follies (1971),
- A Little Night Music (1973),
- Sweeney Todd: The Demon Barber of Fleet Street (1979),
- Merrily We Roll Along (1981),
- Sunday in the Park with George (1984),
- and Into the Woods (1987).
Sondheim's numerous awards and nominations include:
- eight Tony Awards (including a Lifetime Achievement Tony in 2008),
- an Academy Award,
- eight Grammy Awards,
- an Olivier Award,
- a Pulitzer Prize,
- a Kennedy Center Honor,
- and a Presidential Medal of Freedom.
A theater is named after him both on Broadway and in the West End of London. Film adaptations of his works include:
- West Side Story (1961),
- A Funny Thing Happened on the Way to the Forum (1966),
- A Little Night Music (1977),
- Sweeney Todd: The Demon Barber of Fleet Street (2007),
- Into the Woods (2014),
- and West Side Story (2021).
Early life and education:
Sondheim was born on March 22, 1930, into a Jewish family in New York City, the son of Etta Janet ("Foxy"; née Fox; 1897–1992) and Herbert Sondheim (1895–1966). His paternal grandparents, Isaac and Rosa, were German Jews, and his maternal grandparents, Joseph and Bessie, were Lithuanian Jews from Vilnius. His father manufactured dresses designed by his mother.
The composer grew up on the Upper West Side of Manhattan and, after his parents divorced, on a farm near Doylestown, Pennsylvania. The only child of affluent parents living in the San Remo at 145 Central Park West, he was described in Meryle Secrest's biography Stephen Sondheim: A Life as an isolated, emotionally neglected child.
When he lived in New York City, Sondheim attended the Ethical Culture Fieldston School. He spent several summers at Camp Androscoggin. His mother sent him to New York Military Academy in 1940. From 1942 to 1947, he attended George School, a private Quaker preparatory school in Bucks County, Pennsylvania, where he wrote his first musical, By George, in 1946.
From 1946 to 1950, Sondheim attended Williams College. He graduated magna cum laude and received the Hubbard Hutchinson Prize, a two-year fellowship to study music.
Sondheim traced his interest in theater to Very Warm for May, a Broadway musical he saw when he was nine. "The curtain went up and revealed a piano", Sondheim recalled. "A butler took a duster and brushed it up, tinkling the keys. I thought that was thrilling."
Sondheim detested his mother, who was said to be psychologically abusive and to have projected her anger from her failed marriage onto her son: "When my father left her, she substituted me for him. And she used me the way she used him, to come on to and to berate, beat up on, you see. What she did for five years was treat me like dirt, but come on to me at the same time."
She once wrote him a letter saying that the only regret she ever had was giving birth to him. When she died in 1992, Sondheim did not attend her funeral. He had been estranged from her for nearly 20 years.
Mentorship by Oscar Hammerstein II:
When Sondheim was about ten years old (around the time of his parents' divorce), he formed a close friendship with James Hammerstein, son of lyricist and playwright Oscar Hammerstein II, who were neighbors in Bucks County.
The elder Hammerstein became Sondheim's surrogate father, influencing him profoundly and developing his love of musical theater. Sondheim met Hal Prince, who later directed many of his shows, at the opening of South Pacific, Hammerstein's musical with Richard Rodgers.
The comic musical Sondheim wrote at George School, By George, was a success among his peers and buoyed his self-esteem. When he asked Hammerstein to evaluate it as though he had no knowledge of its author, he said it was the worst thing he had ever seen: "But if you want to know why it's terrible, I'll tell you." They spent the rest of the day going over the musical, and Sondheim later said, "In that afternoon I learned more about songwriting and the musical theater than most people learn in a lifetime."
Hammerstein designed a course of sorts for Sondheim on constructing a musical. He had the young composer write four musicals, each with one of the following conditions:
- Based on a play he admired; Sondheim chose George S. Kaufman and Marc Connelly's Beggar on Horseback (which became All That Glitters)
- Based on a play he liked but thought flawed; Sondheim chose Maxwell Anderson's High Tor
- Based on an existing novel or short story not previously dramatized, which became his unfinished version of Mary Poppins (Bad Tuesday, unrelated to the musical film and stage play scored by the Sherman Brothers)
- An original, which became Climb High
None of the "assignment" musicals were produced professionally. High Tor and Mary Poppins have never been produced: the rights holder for the original High Tor refused permission (though a musical version by Arthur Schwartz was produced for television in 1956), and Mary Poppins was unfinished.
Hammerstein's death:
Hammerstein died of stomach cancer on August 23, 1960, aged 65. Sondheim later recalled that Hammerstein had given him a portrait of himself. Sondheim asked him to inscribe it, and said later of the request that it was "weird...it's like asking your father to inscribe something."
Reading the inscription ("For Stevie, My Friend and Teacher") choked up the composer, who said, "That describes Oscar better than anything I could say."
Education:
Sondheim began attending Williams College, a liberal arts college in Williamstown, Massachusetts, whose theater program attracted him.
His first teacher there was Robert Barrow: "everybody hated him because he was very dry, and I thought he was wonderful because he was very dry. And Barrow made me realize that all my romantic views of art were nonsense. I had always thought an angel came down and sat on your shoulder and whispered in your ear "dah-dah-dah-DUM." It never occurred to me that art was something worked out.
And suddenly it was skies opening up. As soon as you find out what a leading tone is, you think, Oh my God. What a diatonic scale is – Oh my God! The logic of it. And, of course, what that meant to me was: Well, I can do that. Because you just don't know. You think it's a talent, you think you're born with this thing. What I've found out and what I believed is that everybody is talented. It's just that some people get it developed and some don't."
The composer told Meryle Secrest: "I just wanted to study composition, theory, and harmony without the attendant musicology that comes in graduate school. But I knew I wanted to write for the theater, so I wanted someone who did not disdain theater music." Barrow suggested that Sondheim study with Milton Babbitt, whom Sondheim called "a frustrated show composer" with whom he formed "a perfect combination".
When they met, Babbitt was working on a musical for Mary Martin based on the myth of Helen of Troy. The two met once a week in New York City for four hours. (At the time, Babbitt was teaching at Princeton University.) According to Sondheim, they spent the first hour dissecting Rodgers and Hart or George Gershwin or studying Babbitt's favorites (Buddy DeSylva, Lew Brown, and Ray Henderson).
They then proceeded to other forms of music (such as Mozart's Jupiter Symphony), critiquing them the same way. Fascinated by mathematics, Babbitt and Sondheim studied songs by a variety of composers (especially Jerome Kern). Sondheim told Seacrest that Kern had the ability "to develop a single motif through tiny variations into a long and never boring line and his maximum development of the minimum of material".
He said of Babbitt, "I am his maverick, his one student who went into the popular arts with all his serious artillery". At Williams, Sondheim wrote a musical adaptation of Beggar on Horseback (a 1924 play by George S. Kaufman and Marc Connelly, with Kaufman's permission) that had three performances. A member of the Beta Theta Pi fraternity, he graduated magna cum laude in 1950.
"A few painful years of struggle" followed, when Sondheim auditioned songs, lived in his father's dining room to save money, and spent time in Hollywood writing for the television series Topper. He devoured 1940s and 1950s films, and called cinema his "basic language" his film knowledge got him through The $64,000 Question contestant tryouts. Sondheim disliked movie musicals, favoring classic dramas such as Citizen Kane, The Grapes of Wrath, and A Matter of Life and Death: "Studio directors like Michael Curtiz and Raoul Walsh ... were heroes of mine.
They went from movie to movie to movie, and every third movie was good and every fifth movie was great. There wasn't any cultural pressure to make art".
At age 22, Sondheim had finished the four shows Hammerstein requested.
Screenwriters Julius and Philip Epstein's Front Porch in Flatbush, unproduced at the time, was being shopped around by designer and producer Lemuel Ayers. Ayers approached Frank Loesser and another composer; both turned him down. Ayers and Sondheim met as ushers at a wedding, and Ayers commissioned Sondheim for three songs for the show; Julius Epstein flew in from California and hired Sondheim, who worked with him in California for four or five months.
After eight auditions for backers, half the money needed was raised. The show, retitled Saturday Night, was intended to open during the 1954–55 Broadway season, but Ayers died of leukemia in his early forties. The production rights transferred to his widow, Shirley, and due to her inexperience the show did not continue as planned; it opened off-Broadway in 2000.
Sondheim later said, "I don't have any emotional reaction to Saturday Night at all – except fondness. It's not bad stuff for a 23-year-old. There are some things that embarrass me so much in the lyrics – the missed accents, the obvious jokes. But I decided, leave it. It's my baby pictures. You don't touch up a baby picture – you're a baby!"
Career:
1954–1959: Early Broadway success:
Burt Shevelove invited Sondheim to a party where Sondheim arrived before him but knew no one else well. He saw a familiar face, Arthur Laurents, who had seen one of the auditions of Saturday Night, and they began talking. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood. He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein.
The next day, Sondheim met and played for Bernstein, who said he would let him know. Sondheim wanted to write music and lyrics; he consulted with Hammerstein, who said, as Sondheim related in a 2008 New York Times video interview, "Look, you have a chance to work with very gifted professionals on a show that sounds interesting, and you could always write your own music eventually. My advice would be to take the job."
West Side Story, directed by Jerome Robbins, opened in 1957 and ran for 732 performances. Sondheim expressed dissatisfaction with his lyrics, saying they did not always fit the characters and were sometimes too consciously poetic. Initially Bernstein was also credited as a co-writer of the lyrics, but he later offered Sondheim solo credit, as Sondheim had essentially done all of them.
The New York Times review of the show did not mention the lyrics. Sondheim described the division of the royalties, saying that Bernstein received 3% and he received 1%. Bernstein suggested evening the percentage at 2% each, but Sondheim refused because he was satisfied with just getting the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage".
After West Side Story opened, Shevelove lamented the lack of "lowbrow comedy" on Broadway and mentioned a possible musical based on Plautus's Roman comedies. Sondheim was interested in the idea and called a friend, Larry Gelbart, to co-write the script. The show went through a number of drafts, and was interrupted briefly by Sondheim's next project.
In 1959, Laurents and Robbins approached Sondheim for a musical version of Gypsy Rose Lee's memoir after Irving Berlin and Cole Porter turned it down. Sondheim agreed, but Ethel Merman – cast as Mama Rose – had just finished Happy Hunting with an unknown composer (Harold Karr) and lyricist (Matt Dubey). Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music.
Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, 1959, and ran for 702 performances.
1962–1966: Music and lyrics:
The first Broadway production for which Sondheim wrote the music and lyrics was A Funny Thing Happened on the Way to the Forum, which opened in 1962 and ran for 964 performances.
The book, based on farces by Plautus, was by Burt Shevelove and Larry Gelbart. The show won six Tony Awards (including Best Musical) and had the longest Broadway run of any show for which Sondheim wrote both music and lyrics.
Sondheim had participated in three straight hits, but his next show – 1964's Anyone Can Whistle – was a nine-performance bomb (although it introduced Angela Lansbury to musical theater).
Do I Hear a Waltz?, based on Laurents's 1952 play The Time of the Cuckoo, was intended as another Rodgers and Hammerstein musical with Mary Martin in the lead. A new lyricist was needed, and Laurents and Rodgers' daughter, Mary, asked Sondheim to fill in. Although Richard Rodgers and Sondheim agreed that the original play did not lend itself to musicalization, they began writing a musical version. The project had many difficulties, including Rodgers's alcoholism.
Sondheim later called it the one project he truly regretted writing, given that the reasons he wrote it – as a favor to Mary, as a favor to Hammerstein, as an opportunity to work again with Laurents, and as an opportunity to make money – were not reasons to write a musical. He then decided to work only when he could write both music and lyrics.
Sondheim asked author and playwright James Goldman to join him as bookwriter for a new musical. Inspired by a New York Times article about a gathering of former Ziegfeld Follies showgirls, originally titled The Girls Upstairs, it became Follies.
In 1966, Sondheim semi-anonymously provided lyrics for "The Boy From...", a parody of "The Girl from Ipanema" in the off-Broadway revue The Mad Show. The song was credited to "Esteban Río Nido", Spanish for "Stephen River Nest", and in the show's playbill the lyrics were credited to "Nom De Plume".
That year Goldman and Sondheim hit a creative wall on The Girls Upstairs, and Goldman asked Sondheim about writing a TV musical. The result was Evening Primrose, with Anthony Perkins and Charmian Carr. Written for the anthology series ABC Stage 67 and produced by Hubbell Robinson, it was broadcast on November 16, 1966.
According to Sondheim and director Paul Bogart, the musical was written only because Goldman needed money for rent. The network disliked the title and Sondheim's alternative, A Little Night Music.
After Sondheim finished Evening Primrose, Jerome Robbins asked him to adapt Bertolt Brecht's The Measures Taken despite the composer's general dislike of Brecht's work.
Robbins wanted to adapt another Brecht play, The Exception and the Rule, and asked John Guare to adapt the book. Leonard Bernstein had not written for the stage in some time, and his contract as conductor of the New York Philharmonic was ending.
Sondheim was invited to Robbins's house in the hope that Guare would convince him to write the lyrics for a musical version of The Exception and the Rule; according to Robbins, Bernstein would not work without Sondheim. When Sondheim agreed, Guare asked: "Why haven't you all worked together since West Side Story?"
Sondheim answered, "You'll see". Guare said that working with Sondheim was like being with an old college roommate, and he depended on him to "decode and decipher their crazy way of working"; Bernstein worked only after midnight, and Robbins only in the early morning. Bernstein's score, which was supposed to be light, was influenced by his need to make a musical statement.
Stuart Ostrow, who worked with Sondheim on The Girls Upstairs, agreed to produce the musical, initially titled A Pray by Blecht, then The Race to Urga. An opening night was scheduled, but during auditions Robbins asked to be excused for a moment. When he did not return, a doorman said he had gotten into a limousine to go to John F. Kennedy International Airport. Bernstein burst into tears and said, "It's over".
Sondheim later said of this experience: "I was ashamed of the whole project. It was arch and didactic in the worst way." He wrote one and a half songs and threw them away, the only time he ever did that. Eighteen years later, Sondheim refused Bernstein's and Robbins's request to retry the show.
Sondheim lived in a Turtle Bay, Manhattan brownstone from his writing of Gypsy in 1959. Ten years later, he heard a knock on the door. His neighbor, Katharine Hepburn, was in "bare feet – this angry, red-faced lady" and told him "You have been keeping me awake all night!" (she was practicing for her musical debut in Coco). "I remember asking Hepburn why she didn't just call me, but she claimed not to have my phone number. My guess is that she wanted to stand there in her bare feet, suffering for her art".
1970–1981: Collaborations with Hal Prince:
After Do I Hear a Waltz?, Sondheim devoted himself solely to writing both music and lyrics for the theater – and in 1970, he began a collaboration with director Harold Prince resulting in a body of work that is considered one of the high water marks of musical theater history, with critic Howard Kissel writing that the duo had set "Broadway's highest standards".
The first Sondheim show with Prince as director was 1970's Company. A show about a single man and his married friends, Company (with a book by George Furth) lacked a straightforward plot, instead centering on themes such as marriage and the difficulty of making an emotional connection with another person.
It opened on April 26, 1970, at the Alvin Theatre, running for 705 performances after seven previews, and won Tony Awards for Best Musical, Best Music, and Best Lyrics. Company was revived on Broadway in 1995, 2006, and 2020/2021 (the last revival began previews in March 2020, but shut down before resuming in November 2021 due to the ongoing COVID-19 pandemic; in this revival, the main character was a woman).
Follies (1971), with a book by James Goldman, opened on April 4, 1971, at the Winter Garden Theatre and ran for 522 performances after 12 previews. The plot centers on a reunion, in a crumbling Broadway theater scheduled for demolition, of performers in Weismann's Follies (a musical revue, based on the Ziegfeld Follies, which played in that theater between the world wars).
The production also featured choreography and co-direction by Michael Bennett, who later created A Chorus Line (1975). The show was revived on Broadway in 2001 and 2011.
A Little Night Music (1973), with a more traditional plot based on Ingmar Bergman's Smiles of a Summer Night and a score primarily in waltz time, was among Sondheim's greatest commercial successes. Time magazine called it his "most brilliant accomplishment to date".
"Send in the Clowns", a song from the musical, was a hit for Judy Collins and became Sondheim's best-known song. The show opened on Broadway at the Shubert Theatre on February 25, 1973, and ran for 601 performances and 12 previews. It was revived on Broadway in 2009.
Pacific Overtures (1976), with a book by John Weidman, was one of Sondheim's most unconventional efforts: it explored the westernization of Japan, and was originally presented in a mock-Kabuki style. The show closed after a run of 193 performances, and was revived on Broadway in 2004.
Sweeney Todd: The Demon Barber of Fleet Street (1979), with a score by Sondheim and a book by Hugh Wheeler, is based on Christopher Bond's 1973 stage play derived from the Victorian original. It was revived on Broadway in 1989 and 2005; a Broadway revival at the Lunt-Fontaine Theatre opened in March 2023, after February previews.
Merrily We Roll Along (1981), with a book by George Furth, is one of Sondheim's most traditional scores; songs from the musical were recorded by Frank Sinatra and Carly Simon.
According to Sondheim's music director Paul Gemignani, "Part of Steve's ability is this extraordinary versatility". The show was not the success their previous collaborations had been: after a chaotic series of preview performances, it opened to widely negative reviews, and closed after a run of less than two weeks. Due to the high quality of Sondheim's score, the show has been repeatedly revised and produced in the ensuing years.
Martin Gottfried wrote, "Sondheim had set out to write traditional songs ... But [despite] that there is nothing ordinary about the music." Sondheim later said: "Did I feel betrayed? I'm not sure I would put it like that. What did surprise me was the feeling around the Broadway community – if you can call it that, though I guess I will for lack of a better word – that they wanted Hal and me to fail."
An acclaimed feature documentary on the show and its aftermath, Best Worst Thing That Ever Could Have Happened, directed by Merrily cast member Lonny Price, and produced by Bruce David Klein, Kitt Lavoie, and Ted Schillinger, premiered at the New York Film Festival on November 18, 2016. A film adaptation of Merrily We Roll Along, directed by Richard Linklater, began production in 2019 and is planned to continue over the following two decades, to allow the actors to age in real time.
An Off-Broadway revival starring Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez ran between November 2022 and January 2023 at the New York Theatre Workshop, and is set to move to Broadway in fall 2023.
1984–1994: Collaborations with James Lapine:
Merrily's failure greatly affected Sondheim; he was ready to quit theater and do movies, create video games or write mysteries: "I wanted to find something to satisfy myself that does not involve Broadway and dealing with all those people who hate me and hate Hal."
After Merrily, Sondheim and Prince did not collaborate again until their 2003 production of Bounce.
Sondheim decided "that there are better places to start a show" and found a new collaborator in James Lapine after he saw Lapine's Twelve Dreams off-Broadway in 1981: "I was discouraged, and I don't know what would have happened if I hadn't discovered Twelve Dreams at the Public Theatre"; Lapine has a taste "for the avant-garde and for visually oriented theater in particular". Their first collaboration was Sunday in the Park with George (1984), with Sondheim's music evoking Georges Seurat's pointillism.
Sondheim and Lapine won the 1985 Pulitzer Prize for Drama for the play, and it was revived on Broadway in 2008, and again in a limited run in 2017.
They collaborated on Into the Woods (1987), a musical based on several Brothers Grimm fairy tales. Although Sondheim has been called the first composer to bring rap music to Broadway (with the Witch in the opening number of Into the Woods), he attributed the first rap in theater to Meredith Willson's "Rock Island" from The Music Man (1957). Into the Woods was revived on Broadway in 2002 and at the St. James Theatre in 2022.
Sondheim's and Lapine's last collaboration on a musical was the rhapsodic Passion (1994), adapted from Ettore Scola's Italian film Passione D'Amore. With a run of 280 performances, Passion was the shortest-running show to win a Tony Award for Best Musical.
In 2013, Lapine directed the HBO feature-length documentary Six by Sondheim, which he executive produced with former New York Times theater critic Frank Rich, an old friend and longtime champion of Sondheim's work. Sondheim himself acts and sings in the documentary as Joe, the cynical theater producer in the song "Opening Doors".
1990–2021: Later work:
Assassins opened off-Broadway at Playwrights Horizons on December 18, 1990, with a book by John Weidman. The show explored, in revue form, a group of historical figures who tried (with varying success) to assassinate the President of the United States.
The musical closed on February 16, 1991, after 73 performances. The Los Angeles Times reported the show "has been sold out since previews began, reflecting the strong appeal of Sondheim's work among the theater crowd."
In his review for The New York Times, Frank Rich wrote, "Assassins will have to fire with sharper aim and fewer blanks if it is to shoot to kill." Assassins was eventually staged on Broadway in 2004.
Saturday Night was shelved until its 1997 production at London's Bridewell Theatre. The next year, its score was recorded; a revised version, with two new songs, ran off-Broadway at Second Stage Theatre in 2000 and at London's Jermyn Street Theatre in 2009.
During the late 1990s, Sondheim and Weidman reunited for Wise Guys, a musical comedy based on the lives of colorful businessmen Addison and Wilson Mizner.
A Broadway production, starring Nathan Lane and Victor Garber, directed by Sam Mendes and planned for the spring of 2000, was delayed. Renamed Bounce in 2003, it was produced at the Goodman Theatre in Chicago and the Kennedy Center in Washington, D.C., in a production directed by Harold Prince, his first collaboration with Sondheim since 1981.
Although after poor reviews Bounce never reached Broadway, a revised version opened off-Broadway as Road Show at the Public Theater on October 28, 2008. Directed by John Doyle, it closed on December 28, 2008. The production won the 2009 Obie Award for Music and Lyrics and the Drama Desk Award for Outstanding Lyrics.
Asked about writing new work, Sondheim replied in 2006: "No ... It's age. It's a diminution of energy and the worry that there are no new ideas. It's also an increasing lack of confidence. I'm not the only one. I've checked with other people. People expect more of you and you're aware of it and you shouldn't be." In December 2007, he said that in addition to continuing work on Bounce, he was "nibbling at a couple of things with John Weidman and James Lapine".
Lapine prepared the multimedia production iSondheim: aMusical Revue, which was scheduled to open in April 2009 at the Alliance Theatre in Atlanta; it was canceled due to "difficulties encountered by the commercial producers attached to the project ... in raising the necessary funds".
Later revised as Sondheim on Sondheim, the revue was produced at Studio 54 by the Roundabout Theatre Company; previews began on March 19, 2010, and ran from April 22 to June 13. The revue's cast included Barbara Cook, Vanessa L. Williams, Tom Wopat, Norm Lewis, and Leslie Kritzer.
Sondheim collaborated with Wynton Marsalis on A Bed and a Chair: A New York Love Affair, an Encores! concert on November 13–17, 2013, at New York City Center. Directed by John Doyle with choreography by Parker Esse, it consisted of "more than two dozen Sondheim compositions, each piece newly reimagined by Marsalis".
The concert featured:
- Bernadette Peters,
- Jeremy Jordan,
- Norm Lewis,
- Cyrille Aimée,
- four dancers,
- and the Jazz at Lincoln Center Orchestra conducted by David Loud.
In Playbill, Steven Suskin called the concert "neither a new musical, a revival, nor a standard songbook revue; it is, rather, a staged-and-sung chamber jazz rendition of a string of songs ...
Half of the songs come from Company and Follies; most of the other Sondheim musicals are represented, including the lesser-known Passion and Road Show"
For the 2014 film adaptation of Into the Woods, Sondheim wrote the new song "She'll Be Back", sung by The Witch, which was cut from the film.
In February 2012, it was announced that Sondheim would collaborate on a new musical with David Ives, and he had "about 20–30 minutes of the musical completed". The show, tentatively called All Together Now, was assumed to follow the format of Merrily We Roll Along.
Sondheim described the project as "two people and what goes into their relationship ... We'll write for a couple of months, then have a workshop. It seemed experimental and fresh 20 years ago. I have a feeling it may not be experimental and fresh anymore".
On October 11, 2014, it was confirmed the Sondheim and Ives musical would be based on two Luis Buñuel films (The Exterminating Angel and The Discreet Charm of the Bourgeoisie) and would reportedly open in previews at the Public Theater in 2017.
A reading for the musical was held at the Public Theater in August 2016, despite only the first act being finished, which cast doubt on the speculated 2017 previews.
A November 2016 workshop included participants:
- Matthew Morrison,
- Shuler Hensley,
- Heidi Blickenstaff,
- Sierra Boggess,
- Gabriel Ebert,
- Sarah Stiles,
- Michael Cerveris,
- and Jennifer Simard.
Mistakenly given the working title Buñuel by the New York Post and other outlets, Sondheim clarified in 2017 that the show still had no title. The Public Theatre denied reports that the musical would be part of its 2019–20 season, but hoped to produce the show "when it is ready".
Development reportedly ceased for a time, but resumed for a September 2021 reading of the musical, then called Square One. Nathan Lane and Bernadette Peters were involved in a reading of this new work, and Sondheim discussed adapting the Buñuel films in the final interview before his death.
A posthumous premiere of the collaboration, now titled Here We Are, is slated for The Shed in September 2023.
Other projects:
Conversations with Frank Rich and others:
The Kennedy Center staged a 15-week repertory festival of six Sondheim musicals--Sweeney Todd, Company, Sunday in the Park with George, Merrily We Roll Along, Passion, and A Little Night Music—from May to August 2002.
The Kennedy Center Sondheim Celebration also included Pacific Overtures, a junior version of Into the Woods, and Frank Rich of The New York Times speaking with the composer for Sondheim on Sondheim on April 28, 2002.
The two men took their discussion, dubbed "A Little Night Conversation with Stephen Sondheim", on a West Coast tour of different U.S. cities including Santa Barbara, San Francisco, Los Angeles, and Portland, Oregon in March 2008, then to Oberlin College in September.
The Cleveland Jewish News reported on their Oberlin appearance: "Sondheim said: 'Movies are photographs; the stage is larger than life.' What musicals does Sondheim admire the most? Porgy and Bess tops a list which includes Carousel, She Loves Me, and The Wiz, which he saw six times. Sondheim took a dim view of today's musicals. What works now, he said, are musicals that are easy to take; audiences don't want to be challenged".
Sondheim and Rich had additional conversations: January 18, 2009, at Avery Fisher Hall; February 2 at the Landmark Theatre in Richmond, Virginia; March February 21 at the Kimmel Center in Philadelphia; and April 20 at the University of Akron in Ohio.
The conversations were reprised at Tufts and Brown University in February 2010, at the University of Tulsa in April, and at Lafayette College in March 2011.
Sondheim had another "conversation with" Sean Patrick Flahaven (associate editor of The Sondheim Review) at the Kravis Center in West Palm Beach on February 4, 2009, in which he discussed many of his songs and shows: "On the perennial struggles of Broadway: 'I don't see any solution for Broadway's problems except subsidized theatre, as in most civilized countries of the world.'"
On February 1, 2011, Sondheim joined former Salt Lake Tribune theater critic Nancy Melich before an audience of 1,200 at Kingsbury Hall.
Melich described the evening: "He was visibly taken by the university choir, who sang two songs during the evening, "Children Will Listen" and "Sunday", and then returned to reprise "Sunday". During that final moment, Sondheim and I were standing, facing the choir of students from the University of Utah's opera program, our backs to the audience, and I could see tears welling in his eyes as the voices rang out. Then, all of a sudden, he raised his arms and began conducting, urging the student singers to go full out, which they did, the crescendo building, their eyes locked with his, until the final "on an ordinary Sunday" was sung. It was thrilling, and a perfect conclusion to a remarkable evening – nothing ordinary about it."
On March 13, 2008, A Salon with Stephen Sondheim (which sold out in three minutes) was hosted by the Academy for New Musical Theatre in Hollywood.
Work away from Broadway:
Sondheim was an avid fan of puzzles and games. He is credited with introducing cryptic crosswords, a British invention, to American audiences through a series of cryptic crossword puzzles he created for New York magazine in 1968 and 1969.
Sondheim was "legendary" in theater circles for "concocting puzzles, scavenger hunts and murder-mystery games," inspiring the central character of Anthony Shaffer's 1970 play Sleuth.
Sondheim's love of puzzles and mysteries is evident in The Last of Sheila, an intricate whodunit written with longtime friend Anthony Perkins. The 1973 film, directed by Herbert Ross, featured:
- Dyan Cannon,
- Joan Hackett,
- Raquel Welch,
- James Mason,
- James Coburn,
- Ian McShane,
- and Richard Benjamin.
Sondheim also wrote occasional music for film: most notably, he contributed five songs to Warren Beatty's 1990 film Dick Tracy, including the ballad "Sooner or Later (I Always Get My Man)", sung in the film by Madonna, which won the Academy Award for Best Original Song.
He also contributed to Reds (both to the score, and with the song "Goodbye for Now"), The Seven-Per-Cent Solution ("The Madam's Song", later recorded as "I Never Do Anything Twice"), Stavisky (writing the score), and The Birdcage ("Little Dream", and the eventually cut "It Takes All Kinds").
For the 2014 movie adaptation of Into the Woods, Sondheim wrote the new song "She'll Be Back" for the character of The Witch (played by Meryl Streep), which was eventually cut.
Sondheim collaborated with Company librettist George Furth to write the play Getting Away with Murder in 1996; the Broadway production closed after 31 previews and only 17 performances.
In 2003, he was invited to serve as guest curator for the Telluride Film Festival.
Mentoring:
After he was mentored by Hammerstein, Sondheim returned the favor, saying that he loved "passing on what Oscar passed on to me". In an interview with Sondheim for The Legacy Project, composer-lyricist Adam Guettel (son of Mary Rodgers and grandson of Richard Rodgers) recalled how as a 14-year-old boy he showed Sondheim his work.
Guettel was "crestfallen" since he had come in "sort of all puffed up thinking [he] would be rained with compliments and things", which was not the case since Sondheim had some "very direct things to say". Later, Sondheim wrote and apologized to Guettel for being "not very encouraging" when he was actually trying to be "constructive".
Sondheim also mentored a fledgling Jonathan Larson, attending Larson's workshop for his Superbia (originally an adaptation of Nineteen Eighty-Four). In Larson's musical Tick, Tick... Boom!, the phone message is played in which Sondheim apologizes for leaving early, says he wants to meet him and is impressed with his work.
After Larson's death, Sondheim called him one of the few composers "attempting to blend contemporary pop music with theater music, which doesn't work very well; he was on his way to finding a real synthesis. A good deal of pop music has interesting lyrics, but they are not theater lyrics". A musical-theater composer "must have a sense of what is theatrical, of how you use music to tell a story, as opposed to writing a song. Jonathan understood that instinctively."
Around 2008, Sondheim approached Lin-Manuel Miranda to work with him translating West Side Story lyrics into Spanish for an upcoming Broadway revival. Miranda then approached Sondheim with his new project Hamilton, then called The Hamilton Mixtape, which Sondheim gave notes on.
Sondheim was originally wary of the project, saying he was "worried that an evening of rap might get monotonous". But he believed Miranda's attention to, and respect for, good rhyming made it work.
Sondheim provided a voice cameo for the 2021 film adaptation of Tick, Tick... Boom!, directed by Miranda, for the scene in which a fictionalized version of himself leaves a phone message. Sondheim worked on a revised text of the message and voiced it himself after Bradley Whitford, who portrays him, was unavailable to rerecord the line.
Sondheim makes a posthumous cameo appearance as himself in the 2022 Netflix film Glass Onion: A Knives Out Mystery.
Dramatists Guild:
A supporter of writers' rights in the theater industry, Sondheim was an active member of the Dramatists Guild of America. In 1973, he was elected as the Guild's 16th president, serving until 1981.
Unrealized projects:
According to Sondheim, he was asked to translate Mahagonny-Songspiel: "But I'm not a Brecht/Weill fan and that's really all there is to it. I'm an apostate: I like Weill's music when he came to America better than I do his stuff before ... I love The Threepenny Opera but, outside of The Threepenny Opera, the music of his I like is the stuff he wrote in America – when he was not writing with Brecht, when he was writing for Broadway."
He turned down an offer to musicalize Nathanael West's A Cool Million with James Lapine c. 1982.
Around 1960, Sondheim and Burt Shevelove considered making a musical of the film Sunset Boulevard, and had sketched out the opening scenes when they approached the film's director Billy Wilder at a cocktail party on the possibility. Wilder rejected the idea, believing the story was more suited to opera than musical theater. Sondheim agreed, and resisted a later offer from Prince and Hugh Wheeler to create a musical version starring Angela Lansbury.
This occurred several years before a musical version was produced by Andrew Lloyd Webber.
Sondheim and Leonard Bernstein wrote The Race to Urga, scheduled for Lincoln Center in 1969, but after Jerome Robbins left the project, it was not produced.
After writing The Last of Sheila together, Sondheim and Anthony Perkins tried to collaborate again two more times, but the projects were unrealized. In 1975, Perkins said he and Sondheim were working on another script, The Chorus Girl Murder Case: "It's a sort of stew based on all those Bob Hope wartime comedies, plus a little Lady of Burlesque and a little Orson Welles magic show, all cooked into a Last of Sheila-type plot". He later said other inspirations were They Got Me Covered, The Ipcress File, and Cloak and Dagger.
They had sold the synopsis in October 1974. At one point, Michael Bennett was to direct, with Tommy Tune to star. In November 1979, Sondheim said they had finished it, but the film was never made. In the 1980s, Perkins and Sondheim collaborated on another project, the seven-part Crime and Variations for Motown Productions.
In October 1984 they had submitted a treatment to Motown. It was a 75-page treatment set in the New York socialite world about a crime puzzle – another writer was to write the script. It, too, was never made.
In 1991, Sondheim worked with Terrence McNally on a musical, All Together Now. McNally said, "Steve was interested in telling the story of a relationship from the present back to the moment when the couple first met. We worked together a while, but we were both involved with so many other projects that this one fell through". The story follows Arden Scott, a 30-something female sculptor, and Daniel Nevin, a slightly younger, sexually attractive restaurateur.
Its script, with concept notes by McNally and Sondheim, is archived in the Harry Ransom Center at the University of Texas at Austin.
Sondheim worked with William Goldman on Singing Out Loud, a musical film, in 1992, penning the song "Water Under the Bridge". According to Sondheim, he had written six and a half songs and Goldman one or two drafts of the script when director Rob Reiner lost interest in the project. "Dawn" and "Sand", from the film, were recorded for the albums Sondheim at the Movies and Unsung Sondheim.
In August 2003, Sondheim expressed interest in the idea of creating a musical adaptation of the 1993 comedy film Groundhog Day, but in a 2008 live chat, he said that "to make a musical of Groundhog Day would be to gild the lily. It cannot be improved."
The musical was later created and premiered in 2016 with music and lyrics by Tim Minchin and book by Danny Rubin (screenwriter of the film) with Sondheim's blessing.
Nathan Lane said that he once approached Sondheim about creating a musical based on the film Being There with Lane starring as the central character of Chance. Sondheim declined on the basis that the central character is essentially a cipher, whom an audience would not accept expressing himself through song.
Major works:
Main article: Works of Stephen Sondheim
Honors and legacy:
Main article: List of awards and nominations received by Stephen Sondheim
Sondheim received an Academy Award, eight Tony Awards, and eight Grammy Awards. He also received the Pulitzer Prize for Drama for Sunday in the Park with George (1985, shared with James Lapine) and was honored with the Kennedy Center Honors, Lifetime Achievement (1993).
He received the Hutchinson Prize for Music Composition (1950) and was elected to the American Academy of Arts and Letters (1983).
He was also awarded:
Sondheim founded Young Playwrights Inc. in 1981 to introduce young people to writing for the theater, and was the organization's executive vice-president. The Stephen Sondheim Center for the Performing Arts, at the Fairfield Arts and Convention Center in Fairfield, Iowa, opened in December 2007 with performances by Len Cariou, Liz Callaway, and Richard Kind, all of whom had participated in Sondheim musicals.
The Stephen Sondheim Society was established in 1993 to provide information about his work, with its Sondheim – the Magazine provided to its membership. The society maintains a database, organizes productions, meetings, outings, and other events, and assists with publicity.
Its annual Student Performer of the Year Competition awards a £1,000 prize to one of twelve musical-theatre students from UK drama schools and universities. At Sondheim's request, an additional prize is offered for a new song by a young composer.
Judged by George Stiles and Anthony Drewe, each contestant performs a Sondheim song and a new song.
Most episode titles of the television series Desperate Housewives refer to Sondheim's song titles or lyrics, and the series finale is titled "Finishing the Hat".
In 1990, Sondheim, as the Cameron Mackintosh chair in musical theater at Oxford, conducted workshops with promising musical writers including:
The writers founded the Mercury Workshop in 1992, which merged with the New Musicals Alliance to become MMD (a UK-based organization to develop new musical theater, of which Sondheim was a patron).
Signature Theatre in Arlington, Virginia established its Sondheim Award, which includes a $5,000 donation to a nonprofit organization of the recipient's choice, "as a tribute to America's most influential contemporary musical theatre composer".
Henry Miller's Theatre, on West 43rd Street in New York City, was renamed the Stephen Sondheim Theatre on September 15, 2010, for the composer's 80th birthday. In attendance were Nathan Lane, Patti LuPone, and John Weidman.
Sondheim said in response to the honor, "I'm deeply embarrassed. Thrilled, but deeply embarrassed. I've always hated my last name. It just doesn't sing. I mean, it's not Belasco. And it's not Rodgers and it's not Simon. And it's not Wilson. It just doesn't sing. It sings better than Schoenfeld and Jacobs. But it just doesn't sing".
Lane said, "We love our corporate sponsors and we love their money, but there's something sacred about naming a theatre, and there's something about this that is right and just".
In 2010, The Daily Telegraph wrote that Sondheim was "almost certainly" the only living composer with a quarterly journal published in his name; The Sondheim Review, founded in 1994, chronicled and promoted his work. It ceased publication in 2016.
In 2019, it was observed in the media that three major films of that year prominently featured Sondheim songs:
Sondheim at 80:
Main article: Sondheim! The Birthday Concert
Several benefits and concerts were performed to celebrate Sondheim's 80th birthday in 2010.
Among them were the New York Philharmonic's March 15 and 16 Sondheim: The Birthday Concert at Lincoln Center's Avery Fisher Hall, hosted by David Hyde Pierce. The concert included Sondheim's music, performed by some of the original performers. Lonny Price directed, and Paul Gemignani conducted; performers included:
A ballet was performed by Blaine Hoven and María Noel Riccetto to Sondheim's score for Reds, and Jonathan Tunick paid tribute to his longtime collaborator.
The concert was broadcast on PBS's Great Performances show in November, and its DVD was released on November 16.
Sondheim 80, a Roundabout Theatre Company benefit, was held on March 22. The evening included a performance of Sondheim on Sondheim, dinner and a show at the New York Sheraton. "A very personal star-studded musical tribute" featured new songs by contemporary musical-theater writers. The composers (who sang their own songs) included:
An April 26 New York City Center birthday celebration and concert to benefit Young Playwrights, among others, featured (in order of appearance):
The concert, directed by John Doyle, was co-hosted by Mia Farrow; greetings from Sheila Hancock, Julia McKenzie, Milton Babbitt, Judi Dench, and Glynis Johns were read.
After Catherine Zeta-Jones performed "Send in the Clowns", Julie Andrews sang part of "Not a Day Goes By" in a recorded greeting. Patti LuPone, Barbara Cook, Bernadette Peters, Tom Aldredge, and Victor Garber were originally scheduled to perform, but did not appear.
A July 31 BBC Proms concert celebrated Sondheim's 80th birthday at the Royal Albert Hall. The concert featured songs from many of his musicals, including "Send in the Clowns" sung by Judi Dench (reprising her role as Desirée in the 1995 production of A Little Night Music), and performances by Bryn Terfel and Maria Friedman.
On November 19 the New York Pops, led by Steven Reineke, performed at Carnegie Hall for the composer's 80th birthday. Kate Baldwin, Aaron Lazar, Christiane Noll, Paul Betz, Renee Rakelle, Marilyn Maye (singing "I'm Still Here"), and Alexander Gemignani appeared, and songs included "I Remember", "Another Hundred People", "Children Will Listen", and "Getting Married Today". Sondheim took the stage during an encore of his song, "Old Friends".
Sondheim at 90:
Main article: Take Me to the World: A Sondheim 90th Birthday Celebration
To honor Sondheim's 90th birthday, The New York Times published a special nine-page Theater supplement on March 15, 2020, featuring comments by "Critics, Performers and Fans on the Bard of Broadway."
Due to theater closures during the COVID-19 pandemic, the Broadway revival of Company set to open on March 22, 2020, Sondheim's 90th birthday, was delayed.
But the virtual concert Take Me to the World: A Sondheim 90th Birthday Celebration was livestreamed on the Broadway.com YouTube channel on April 26. Participants in the event included:
After New York City theaters reopened in 2021, Sondheim attended revivals of two of his musicals: the opening night of Assassins at the Classic Stage Company on November 14, and the first post-shutdown preview of Company at the Jacobs Theatre on November 15.
Stephen Sondheim's Old Friends:
In 2022, Cameron Mackintosh presented Stephen Sondheim's Old Friends, a two-hour concert tribute to the late Sondheim. The concert happened in the West End in May and aired on BBC Two in December.
Performers at the event included:
Highlights included Dench singing "Send in the Clowns", Peters singing "Children Will Listen", and Staunton's "Everything's Coming Up Roses".
Mackintosh is set to revive the tribute for a limited run at the Gielgud Theatre from September 16, 2023, to January 6, 2024. The production will star Bernadette Peters, marking her West End debut, and Lea Salonga, who will be returning to the West End for the first time since 1996.
Style and themes:
According to Sondheim, when he asked Milton Babbitt if he could study atonality, Babbitt replied: "You haven't exhausted tonal resources for yourself yet, so I'm not going to teach you atonal".
Music critic Anthony Tommasini wrote that Sondheim's work, "while hewing to a tonal musical language, activated harmonies and folded elements of jazz and Impressionist styles in his own distinctive, exhilarating voice."
Sondheim is known for complex polyphony in his vocals, such as the five minor characters who make up a Greek chorus in 1973's A Little Night Music. He used angular harmonies and intricate melodies. His musical influences were varied; although he said that he "loves Bach", his favorite musical period was from Brahms to Stravinsky.
Raymond-Jean Frontain writes that thematically, Sondheim's musicals occupy a paradoxical place in gay culture, describing him as a gay creative artist who never created an explicitly gay character, but nevertheless attained gay cult status.
Frontain continues: He incarnates the paradox of a highly intellectualized gay perspective that prizes ambivalence, undercuts traditional American progressivism, and rejects the musical's historically idealistic view of sex, romance, and the family; but that at the same time eschews camp, deconstructs the diva, and is apparently oblivious to AIDS, the post-Stonewall struggle for civil equality, and other socio-political issues that concern most gay men of his generation.
Luca Prono described Sondheim's work as rejecting the traditional image of the Western world typically presented in Broadway productions, and instead depicting it as "predatory and alienating".
His works have acquired a cult following with queer audiences, and his songs have been adopted as life scores for successive generations of gays, and have often had a primary role in AIDS fundraising events.
"Somewhere" from West Side Story was informally adopted as a gay anthem before the start of the gay liberation movement, but Sondheim rejected that reading, saying, "If you think that's a gay song, then all songs about getting away from the realities of life are gay songs."
In an interview with Terry Gross for the Fresh Air program on NPR, Sondheim stated,
I'm interested in the theater because I'm interested in communication with audiences," [...] "Otherwise I would be in concert music. I'd be in another kind of profession. I love the theater as much as music, and the whole idea of getting across to an audience and making them laugh, making them cry – just making them feel – is paramount to me."
Matt Zoller Seitz characterized Sondheim's work for its bravery to express the truth, in all its complexity: "compassionately but without sugarcoating anything," devoid of the "easy reassurances and neat resolutions" typically demanded in the marketplace.
Personal life and death:
Sondheim was often described as introverted and solitary. In an interview with Frank Rich, he said: "The outsider feeling—somebody who people want to both kiss and kill—occurred quite early in my life". Sondheim jokingly told the New York Times in 1966: "I've never found anybody I could work with as quickly as myself, or with less argument", although he described himself as "naturally a collaborative animal".
Sondheim opened up about being gay when he was about 40. He rarely discussed his personal life, though he said in 2013 that he had not been in love before he turned 60, when he entered into a roughly eight-year relationship with dramatist Peter Jones.
Sondheim married Jeffrey Scott Romley, a digital technologist, in 2017; they lived in Manhattan and Roxbury, Connecticut.
In 2010–2011, Sondheim published, in two volumes, his autobiography, Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes and Look, I Made a Hat: Collected Lyrics (1981–2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany.
The memoir included Sondheim's lyrical declaration of principle, stating that four principles underpinned "everything I've ever written". These were: "Content Dictates Form, Less is More, God is in the Details – all in the service of Clarity."
In Six by Sondheim, James Lapine's 2013 documentary film about the creative process, Sondheim revealed that he liked to write his music lying down and would occasionally have a cocktail to help him write.
Sondheim died of cardiovascular disease at his home in Roxbury on November 26, 2021, at the age of 91. Collaborator and friend Jeremy Sams said Sondheim "died in the arms of his husband Jeff". On December 8, 2021, Broadway theaters dimmed their marquee lights for one minute as a tribute.
It is estimated that Sondheim's estate, including the rights to his work, was valued at around $75 million, the entirety of which was placed in trust. In his will, he named F. Richard Pappas and a second unnamed individual as the executors.
Beneficiaries included:
Published works:
See Also:
Main article: List of awards and nominations received by Stephen Sondheim
Sondheim received an Academy Award, eight Tony Awards, and eight Grammy Awards. He also received the Pulitzer Prize for Drama for Sunday in the Park with George (1985, shared with James Lapine) and was honored with the Kennedy Center Honors, Lifetime Achievement (1993).
He received the Hutchinson Prize for Music Composition (1950) and was elected to the American Academy of Arts and Letters (1983).
He was also awarded:
- the Golden Plate Award of the American Academy of Achievement presented by Awards Council member James Earl Jones (2005),
- the Algur H. Meadows Award from Southern Methodist University (1994),
- a Special Laurence Olivier Award (2011) "in recognition of his contribution to London theatre",
- a Critics' Circle Theatre Award (2012), which according to drama section chair Mark Shenton "is effectively a lifetime achievement award."
- He became a member of the American Theater Hall of Fame (2014).
- In 2013, Sondheim was awarded The Edward MacDowell Medal by The MacDowell Colony for outstanding contributions to American culture
- In November 2015, Sondheim was awarded the Presidential Medal of Freedom by President Barack Obama in a ceremony at the White House.
Sondheim founded Young Playwrights Inc. in 1981 to introduce young people to writing for the theater, and was the organization's executive vice-president. The Stephen Sondheim Center for the Performing Arts, at the Fairfield Arts and Convention Center in Fairfield, Iowa, opened in December 2007 with performances by Len Cariou, Liz Callaway, and Richard Kind, all of whom had participated in Sondheim musicals.
The Stephen Sondheim Society was established in 1993 to provide information about his work, with its Sondheim – the Magazine provided to its membership. The society maintains a database, organizes productions, meetings, outings, and other events, and assists with publicity.
Its annual Student Performer of the Year Competition awards a £1,000 prize to one of twelve musical-theatre students from UK drama schools and universities. At Sondheim's request, an additional prize is offered for a new song by a young composer.
Judged by George Stiles and Anthony Drewe, each contestant performs a Sondheim song and a new song.
Most episode titles of the television series Desperate Housewives refer to Sondheim's song titles or lyrics, and the series finale is titled "Finishing the Hat".
In 1990, Sondheim, as the Cameron Mackintosh chair in musical theater at Oxford, conducted workshops with promising musical writers including:
- George Stiles,
- Anthony Drewe,
- Andrew Peggie,
- Paul James,
- Kit Hesketh-Harvey,
- and Stephen Keeling.
The writers founded the Mercury Workshop in 1992, which merged with the New Musicals Alliance to become MMD (a UK-based organization to develop new musical theater, of which Sondheim was a patron).
Signature Theatre in Arlington, Virginia established its Sondheim Award, which includes a $5,000 donation to a nonprofit organization of the recipient's choice, "as a tribute to America's most influential contemporary musical theatre composer".
- The first award, to Sondheim, was presented at an April 27, 2009, benefit with performances by Bernadette Peters, Michael Cerveris, Will Gartshore, and Eleasha Gamble.
- The 2010 recipient was Angela Lansbury, with Peters and Catherine Zeta-Jones hosting the April benefit.
- The 2011 honoree was Bernadette Peters.
- Patti LuPone in 2012
- Hal Prince in 2013,
- Jonathan Tunick in 2014
- and James Lapine in 2015.
- The 2016 awardee was John Weidman
- and the 2017 awardee was Cameron Mackintosh.
Henry Miller's Theatre, on West 43rd Street in New York City, was renamed the Stephen Sondheim Theatre on September 15, 2010, for the composer's 80th birthday. In attendance were Nathan Lane, Patti LuPone, and John Weidman.
Sondheim said in response to the honor, "I'm deeply embarrassed. Thrilled, but deeply embarrassed. I've always hated my last name. It just doesn't sing. I mean, it's not Belasco. And it's not Rodgers and it's not Simon. And it's not Wilson. It just doesn't sing. It sings better than Schoenfeld and Jacobs. But it just doesn't sing".
Lane said, "We love our corporate sponsors and we love their money, but there's something sacred about naming a theatre, and there's something about this that is right and just".
In 2010, The Daily Telegraph wrote that Sondheim was "almost certainly" the only living composer with a quarterly journal published in his name; The Sondheim Review, founded in 1994, chronicled and promoted his work. It ceased publication in 2016.
In 2019, it was observed in the media that three major films of that year prominently featured Sondheim songs:
- Joker (Wall Street businessmen sing "Send In the Clowns" on the subway),
- Marriage Story (Adam Driver sings "Being Alive"; Scarlett Johansson, Merritt Wever, and Julie Hagerty sing "You Can Drive a Person Crazy"), and Knives Out (Daniel Craig sings "Losing My Mind").
- Sondheim's work is also referenced in television such as The Morning Show, where Jennifer Aniston and Billy Crudup sing "Not While I'm Around".
Sondheim at 80:
Main article: Sondheim! The Birthday Concert
Several benefits and concerts were performed to celebrate Sondheim's 80th birthday in 2010.
Among them were the New York Philharmonic's March 15 and 16 Sondheim: The Birthday Concert at Lincoln Center's Avery Fisher Hall, hosted by David Hyde Pierce. The concert included Sondheim's music, performed by some of the original performers. Lonny Price directed, and Paul Gemignani conducted; performers included:
- Laura Benanti,
- Matt Cavenaugh,
- Michael Cerveris,
- Victoria Clark,
- Jenn Colella,
- Jason Danieley,
- Alexander Gemignani,
- Joanna Gleason,
- Nathan Gunn,
- George Hearn,
- Patti LuPone,
- Marin Mazzie,
- Audra McDonald,
- John McMartin,
- Donna Murphy,
- Karen Olivo,
- Laura Osnes,
- Mandy Patinkin,
- Bernadette Peters,
- Bobby Steggert,
- Elaine Stritch,
- Jim Walton,
- Chip Zien,
- and the 2009 Broadway revival cast of West Side Story.
A ballet was performed by Blaine Hoven and María Noel Riccetto to Sondheim's score for Reds, and Jonathan Tunick paid tribute to his longtime collaborator.
The concert was broadcast on PBS's Great Performances show in November, and its DVD was released on November 16.
Sondheim 80, a Roundabout Theatre Company benefit, was held on March 22. The evening included a performance of Sondheim on Sondheim, dinner and a show at the New York Sheraton. "A very personal star-studded musical tribute" featured new songs by contemporary musical-theater writers. The composers (who sang their own songs) included:
- Tom Kitt and Brian Yorkey,
- Michael John LaChiusa,
- Andrew Lippa,
- Robert Lopez and Kristen Anderson-Lopez,
- Lin-Manuel Miranda (accompanied by Rita Moreno),
- Duncan Sheik, and Jeanine Tesori and
- David Lindsay-Abaire.
- Bernadette Peters performed a song that had been cut from a Sondheim show.
An April 26 New York City Center birthday celebration and concert to benefit Young Playwrights, among others, featured (in order of appearance):
- Michael Cerveris,
- Alexander Gemignani,
- Donna Murphy,
- Debra Monk,
- Joanna Gleason,
- Maria Friedman,
- Mark Jacoby,
- Len Cariou,
- BD Wong,
- Claybourne Elder,
- Alexander Hanson,
- Catherine Zeta-Jones,
- Raúl Esparza,
- Sutton Foster,
- Nathan Lane,
- Michele Pawk,
- the original cast of Into the Woods,
- Kim Crosby,
- Chip Zien,
- Danielle Ferland, and Ben Wright,
- Angela Lansbury,
- and Jim Walton.
The concert, directed by John Doyle, was co-hosted by Mia Farrow; greetings from Sheila Hancock, Julia McKenzie, Milton Babbitt, Judi Dench, and Glynis Johns were read.
After Catherine Zeta-Jones performed "Send in the Clowns", Julie Andrews sang part of "Not a Day Goes By" in a recorded greeting. Patti LuPone, Barbara Cook, Bernadette Peters, Tom Aldredge, and Victor Garber were originally scheduled to perform, but did not appear.
A July 31 BBC Proms concert celebrated Sondheim's 80th birthday at the Royal Albert Hall. The concert featured songs from many of his musicals, including "Send in the Clowns" sung by Judi Dench (reprising her role as Desirée in the 1995 production of A Little Night Music), and performances by Bryn Terfel and Maria Friedman.
On November 19 the New York Pops, led by Steven Reineke, performed at Carnegie Hall for the composer's 80th birthday. Kate Baldwin, Aaron Lazar, Christiane Noll, Paul Betz, Renee Rakelle, Marilyn Maye (singing "I'm Still Here"), and Alexander Gemignani appeared, and songs included "I Remember", "Another Hundred People", "Children Will Listen", and "Getting Married Today". Sondheim took the stage during an encore of his song, "Old Friends".
Sondheim at 90:
Main article: Take Me to the World: A Sondheim 90th Birthday Celebration
To honor Sondheim's 90th birthday, The New York Times published a special nine-page Theater supplement on March 15, 2020, featuring comments by "Critics, Performers and Fans on the Bard of Broadway."
Due to theater closures during the COVID-19 pandemic, the Broadway revival of Company set to open on March 22, 2020, Sondheim's 90th birthday, was delayed.
But the virtual concert Take Me to the World: A Sondheim 90th Birthday Celebration was livestreamed on the Broadway.com YouTube channel on April 26. Participants in the event included:
- Lin-Manuel Miranda,
- Steven Spielberg,
- Meryl Streep,
- Nathan Lane,
- Mandy Patinkin,
- Victor Garber,
- Bernadette Peters,
- Patti LuPone,
- Neil Patrick Harris,
- Jake Gyllenhaal,
- Christine Baranski,
- Sutton Foster,
- Josh Groban,
- Ben Platt,
- Brandon Uranowitz,
- Katrina Lenk,
- Kelli O'Hara,
- Jason Alexander,
- Brian Stokes Mitchell,
- Beanie Feldstein,
- Audra McDonald,
- Laura Benanti,
- and Raúl Esparza.
After New York City theaters reopened in 2021, Sondheim attended revivals of two of his musicals: the opening night of Assassins at the Classic Stage Company on November 14, and the first post-shutdown preview of Company at the Jacobs Theatre on November 15.
Stephen Sondheim's Old Friends:
In 2022, Cameron Mackintosh presented Stephen Sondheim's Old Friends, a two-hour concert tribute to the late Sondheim. The concert happened in the West End in May and aired on BBC Two in December.
Performers at the event included:
- Helena Bonham Carter,
- Rob Brydon,
- Petula Clark,
- Dame Judi Dench,
- Damian Lewis,
- Julia McKenzie,
- Bernadette Peters,
- and Imelda Staunton.
Highlights included Dench singing "Send in the Clowns", Peters singing "Children Will Listen", and Staunton's "Everything's Coming Up Roses".
Mackintosh is set to revive the tribute for a limited run at the Gielgud Theatre from September 16, 2023, to January 6, 2024. The production will star Bernadette Peters, marking her West End debut, and Lea Salonga, who will be returning to the West End for the first time since 1996.
Style and themes:
According to Sondheim, when he asked Milton Babbitt if he could study atonality, Babbitt replied: "You haven't exhausted tonal resources for yourself yet, so I'm not going to teach you atonal".
Music critic Anthony Tommasini wrote that Sondheim's work, "while hewing to a tonal musical language, activated harmonies and folded elements of jazz and Impressionist styles in his own distinctive, exhilarating voice."
Sondheim is known for complex polyphony in his vocals, such as the five minor characters who make up a Greek chorus in 1973's A Little Night Music. He used angular harmonies and intricate melodies. His musical influences were varied; although he said that he "loves Bach", his favorite musical period was from Brahms to Stravinsky.
Raymond-Jean Frontain writes that thematically, Sondheim's musicals occupy a paradoxical place in gay culture, describing him as a gay creative artist who never created an explicitly gay character, but nevertheless attained gay cult status.
Frontain continues: He incarnates the paradox of a highly intellectualized gay perspective that prizes ambivalence, undercuts traditional American progressivism, and rejects the musical's historically idealistic view of sex, romance, and the family; but that at the same time eschews camp, deconstructs the diva, and is apparently oblivious to AIDS, the post-Stonewall struggle for civil equality, and other socio-political issues that concern most gay men of his generation.
Luca Prono described Sondheim's work as rejecting the traditional image of the Western world typically presented in Broadway productions, and instead depicting it as "predatory and alienating".
His works have acquired a cult following with queer audiences, and his songs have been adopted as life scores for successive generations of gays, and have often had a primary role in AIDS fundraising events.
"Somewhere" from West Side Story was informally adopted as a gay anthem before the start of the gay liberation movement, but Sondheim rejected that reading, saying, "If you think that's a gay song, then all songs about getting away from the realities of life are gay songs."
In an interview with Terry Gross for the Fresh Air program on NPR, Sondheim stated,
I'm interested in the theater because I'm interested in communication with audiences," [...] "Otherwise I would be in concert music. I'd be in another kind of profession. I love the theater as much as music, and the whole idea of getting across to an audience and making them laugh, making them cry – just making them feel – is paramount to me."
Matt Zoller Seitz characterized Sondheim's work for its bravery to express the truth, in all its complexity: "compassionately but without sugarcoating anything," devoid of the "easy reassurances and neat resolutions" typically demanded in the marketplace.
Personal life and death:
Sondheim was often described as introverted and solitary. In an interview with Frank Rich, he said: "The outsider feeling—somebody who people want to both kiss and kill—occurred quite early in my life". Sondheim jokingly told the New York Times in 1966: "I've never found anybody I could work with as quickly as myself, or with less argument", although he described himself as "naturally a collaborative animal".
Sondheim opened up about being gay when he was about 40. He rarely discussed his personal life, though he said in 2013 that he had not been in love before he turned 60, when he entered into a roughly eight-year relationship with dramatist Peter Jones.
Sondheim married Jeffrey Scott Romley, a digital technologist, in 2017; they lived in Manhattan and Roxbury, Connecticut.
In 2010–2011, Sondheim published, in two volumes, his autobiography, Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes and Look, I Made a Hat: Collected Lyrics (1981–2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany.
The memoir included Sondheim's lyrical declaration of principle, stating that four principles underpinned "everything I've ever written". These were: "Content Dictates Form, Less is More, God is in the Details – all in the service of Clarity."
In Six by Sondheim, James Lapine's 2013 documentary film about the creative process, Sondheim revealed that he liked to write his music lying down and would occasionally have a cocktail to help him write.
Sondheim died of cardiovascular disease at his home in Roxbury on November 26, 2021, at the age of 91. Collaborator and friend Jeremy Sams said Sondheim "died in the arms of his husband Jeff". On December 8, 2021, Broadway theaters dimmed their marquee lights for one minute as a tribute.
It is estimated that Sondheim's estate, including the rights to his work, was valued at around $75 million, the entirety of which was placed in trust. In his will, he named F. Richard Pappas and a second unnamed individual as the executors.
Beneficiaries included:
- his husband, Jeff;
- his frequent collaborator James Lapine;
- former lover Peter Jones;
- former assistant Steven Clar;
- designer Peter Wooster;
- gardener Rob Girard;
- the Smithsonian Institution;
- the Library of Congress;
- and the New York Public Library for the Performing Arts.
Published works:
- Stephen Sondheim's Crossword Puzzles: From New York Magazine (1980) ISBN 0-06-090708-8
- Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes (2010) ISBN 978-0-679-43907-3
- Look, I Made a Hat: Collected Lyrics (1981–2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany (2011) ISBN 9780307593412
See Also:
- The Stephen Sondheim Society Web site of The Stephen Sondheim Society
- Stephen Sondheim Papers at the Wisconsin Center for Film and Theater Research
- Stephen Sondheim at Playbill Vault
- Stephen Sondheim at the Internet Broadway Database
- Stephen Sondheim at the Internet Off-Broadway Database
- Stephen Sondheim at IMDb
- Stephen Sondheim discography at Discogs
- Stephen Sondheim online-with Finishing The Chat
- The Stephen Sondheim Reference Guide Comprehensive listings of productions and recordings information
- James Lipton (Spring 1997). "Stephen Sondheim, The Art of the Musical". The Paris Review. Spring 1997 (142).
- Fresh Air NPR radio interview with Sondheim from 2000 (20 minutes, streaming audio)
- Kennedy Center interview with Sondheim, conducted by Frank Rich in 2002 (90 minutes, streaming video)
- Stephen Sondheim Center for Performing Arts
- MMD – developing new musical theatre with Sondheim as patron
- News article "Sondheim 'Story So Far' available 9/30, including previously unreleased tracks", BroadwayWorld.com
- Review "Sondheim has more story to tell" USA Today, October 8, 2008
- Stephen Sondeim: Alumni of Distinction – New York Military Academy archives page
- Stephen Sondheim symposium held at Goldsmiths, University of London, in 2005
- BroadwayWorld.com interview with Stephen Sondheim, December 20, 2007
- Review of "Finishing the Hat: Collected Lyrics (1954–1981)" November 2010
- Stephen Sondheim interview on BBC Radio 4 Desert Island Discs, August 22, 1980
Lin-Manuel Miranda
- YouTube Video: Top 10 Greatest Lin-Manuel Miranda Performances
- YouTube Video: Lin-Manuel Miranda Talks Inspiration For ‘Hamilton’ And Making His Directorial Debut
- YouTube Video: Lin-Manuel Miranda Performs at the White House Poetry Jam: (8 of 8)
Lin-Manuel Miranda (born January 16, 1980) is an American songwriter, actor, singer, filmmaker, and playwright. He is known for creating the Broadway musicals In the Heights (2005), and Hamilton (2015), and the soundtracks for the animated films Moana (2016), Encanto, and Vivo (both 2021).
His awards include three Tony Awards, two Emmy Awards, five Grammy Awards, two Laurence Olivier Awards, an Annie Award, a MacArthur Fellowship Award, a Kennedy Center Honor, and a Pulitzer Prize.
Miranda made his Broadway debut in 2008 in the musical In the Heights in which he starred and wrote the music and lyrics. The book was by Quiara Alegria Hudes. The production was a critical and commercial success, winning the Tony Award for Best Musical and Tony Award for Best Original Score, and the Grammy Award for Best Musical Theater Album.
The stage musical was adapted as a film of the same name, released in June 2021.
Miranda gained still wider recognition for writing the script, music, and lyrics for Hamilton, a highly successful musical acclaimed as a popular culture phenomenon since its 2015 Broadway premiere. It earned the Pulitzer Prize for Drama and was nominated for a record 16 Tony Awards and won 11, including Miranda's first win for the Tony Award for Best Book of a Musical.
The Hamilton cast recording spent 10 weeks atop Billboard's Top Rap Albums chart and became the eleventh-biggest album of the 2010s. The Hamilton Mixtape, a cover album by Miranda, further reached number one on the Billboard 200.
A frequent collaborator of the Walt Disney Company, Miranda has written original songs for the studio. He gained two nominations for the Academy Award for Best Original Song ("How Far I'll Go" and "Dos Oruguitas") for Moana (2016) and Encanto (2021), respectively. The song "We Don't Talk About Bruno" broke various records, marked Miranda's first number-one song on the US Billboard Hot 100 and the UK Singles charts, and cemented his mainstream fame.
He starred as Jack in the musical fantasy Mary Poppins Returns (2018), for which he was nominated for a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy.
For his performance in the Disney+ live stage recording of Hamilton released in 2020, he received Golden Globe and Primetime Emmy Award nominations. Miranda debuted as a film director with Tick, Tick...Boom! (2021).
His television work includes recurring roles on The Electric Company (2009–2010) and His Dark Materials (2019). Miranda hosted Saturday Night Live in 2016 and had a guest role on Curb Your Enthusiasm in 2018; he was nominated twice for the Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series.
He has been politically active on behalf of Puerto Rico. Miranda met with politicians in 2016 to speak out in favor of debt relief for Puerto Rico and raised funds for rescue efforts and disaster relief after Hurricane Maria in 2017.
Click on any of the following blue hyperlinks for more about Lin-Manuel Miranda:
His awards include three Tony Awards, two Emmy Awards, five Grammy Awards, two Laurence Olivier Awards, an Annie Award, a MacArthur Fellowship Award, a Kennedy Center Honor, and a Pulitzer Prize.
Miranda made his Broadway debut in 2008 in the musical In the Heights in which he starred and wrote the music and lyrics. The book was by Quiara Alegria Hudes. The production was a critical and commercial success, winning the Tony Award for Best Musical and Tony Award for Best Original Score, and the Grammy Award for Best Musical Theater Album.
The stage musical was adapted as a film of the same name, released in June 2021.
Miranda gained still wider recognition for writing the script, music, and lyrics for Hamilton, a highly successful musical acclaimed as a popular culture phenomenon since its 2015 Broadway premiere. It earned the Pulitzer Prize for Drama and was nominated for a record 16 Tony Awards and won 11, including Miranda's first win for the Tony Award for Best Book of a Musical.
The Hamilton cast recording spent 10 weeks atop Billboard's Top Rap Albums chart and became the eleventh-biggest album of the 2010s. The Hamilton Mixtape, a cover album by Miranda, further reached number one on the Billboard 200.
A frequent collaborator of the Walt Disney Company, Miranda has written original songs for the studio. He gained two nominations for the Academy Award for Best Original Song ("How Far I'll Go" and "Dos Oruguitas") for Moana (2016) and Encanto (2021), respectively. The song "We Don't Talk About Bruno" broke various records, marked Miranda's first number-one song on the US Billboard Hot 100 and the UK Singles charts, and cemented his mainstream fame.
He starred as Jack in the musical fantasy Mary Poppins Returns (2018), for which he was nominated for a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy.
For his performance in the Disney+ live stage recording of Hamilton released in 2020, he received Golden Globe and Primetime Emmy Award nominations. Miranda debuted as a film director with Tick, Tick...Boom! (2021).
His television work includes recurring roles on The Electric Company (2009–2010) and His Dark Materials (2019). Miranda hosted Saturday Night Live in 2016 and had a guest role on Curb Your Enthusiasm in 2018; he was nominated twice for the Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series.
He has been politically active on behalf of Puerto Rico. Miranda met with politicians in 2016 to speak out in favor of debt relief for Puerto Rico and raised funds for rescue efforts and disaster relief after Hurricane Maria in 2017.
Click on any of the following blue hyperlinks for more about Lin-Manuel Miranda:
- Early life and education
- Career
- Personal life
- Awards and honors
- Work
- Bibliography
- Discography
- See also:
- Nuyorican
- Nuyorican Movement
- Latino theatre in the United States
- Puerto Rican literature
- Latino literature
- List of Latin American Academy Award winners and nominees
- Puerto Ricans in New York City
- Puerto Ricans in the United States
- List of Puerto Ricans
- Official website
- Lin-Manuel Miranda at the Internet Broadway Database
- Lin-Manuel Miranda at the Internet Off-Broadway Database
- Lin-Manuel Miranda at IMDb
- Lin-Manuel Miranda at Playbill Vault
- Lin-Manuel Miranda at Rotten Tomatoes
- Appearances on C-SPAN
- Lin-Manuel Miranda at Last.fm
- Lin-Manuel Miranda discography at Discogs