Word: sondheims
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When she got back to Harvard, Toomer again didn't see much that excited her, but, by this time, she had found her niche. She sang in the Sondheim Cabaret, starred in a spring production of "Dreamgirls" (working with Forbes was "really exciting") and, of primary importance, met Benjamin F. Waltzer '93, who had recently transferred to Harvard from a joint program with Tufts and the New England Conservatory...
Alan P. Symonds '69 may be more important to theater fans on this campus than Shakespeare, Chekhov or Stephen Sondheim. Certainly his name appears on more programs year round than do all of these luminaries combined. Symonds isn't a playwright, a director or even a wealthy patron of the arts. But without him, few of the fifty-odd plays and musicals that are performed here each year would ever see an opening night...
...STEPHEN SONDHEIM SAYS HE'S never been in love, but he writes better than any other living composer or lyricist about the pleasures of passion, the pangs of jealousy, the durability and disillusionment of life in partnership -- the state he describes, in a characteristic song title, as perpetually Sorry- Grateful. It's been more than five years since he last brought a show to Broadway (his unpleasant Assassins, about John Wilkes Booth et al., had a brief sold-out run off-Broadway), and the next best thing to a new Sondheim score is a thoughtful revisit to old ones...
...show, Putting It Together, is loosely conceived as a party at which old flames flicker and new ones spark. To quote Sondheim's nearest intellectual forebear, Cole Porter, what a swell party it is. With new material from Sondheim, designs by three Tony winners, choreography by Bob Avian (A Chorus Line, Miss Saigon) and a cast headed by Julie Andrews in her first New York stage appearance since Camelot in 1961, the show seems absurdly overabundant for its venue, a nonprofit house seating 299. But then, impresario Cameron Mackintosh (Phantom of the Opera, Les Miserables) has been showing up night...
...piece was "devised" (there's not enough dialogue to constitute a libretto) by Sondheim and directed by Julia McKenzie, who starred in London and on Broadway in Side by Side. The emphasis on courtship means six songs from Company and four from A Funny Thing Happened on the Way to the Forum but little from more venturesome shows -- one song each from Into the Woods and Sunday in the Park with George, none from Pacific Overtures. For aficionados, that shortcoming is balanced by five numbers from the short-lived Merrily We Roll Along and two items, never before heard...