Boldly bizarre and and blessedly bittersweet, the final Stephen Sondheim musical Here We Are enjoys a world premiere season with high production values and a truly starry cast.
A quick word first about the venue at the multi-billion dollar newly developed Hudson Yards, easily reached by subway on the 7 in the lower 30s on Manhattan’s west side. The Griffith Theatre, housed within the complex known as The Shed, has a black box off-Broadway vibe with an abundance of adaptable seating and every technical trick known to theatre, including, in this case, both fire and water on stage.
A work in progress for over ten years, the trivially titled Here We Are is a collaboration between Sondheim and playwright David Ives, with direction by the redoubtable Joe Mantello. Sondheim’s score benefits from the masterful input of longtime collaborators Alexander Gemignani (musical supervision and additional arrangements) and Jonathan Tunick (orchestrations).
With the loosest possible nod to commedia dell’arte, the story features characters who spend each of two acts on on two missions. Ives and Sondheim have stitched together two unrelated Luis Buñuel-directed films by using the same collection of characters.
In act one, the adaptation of The Discreet Charm of the Bourgeoisie (1972) sees a bourgeois claque of New Yorkers meet for brunch but then be unable to find anywhere to eat. Having set upon a fictional foreign embassy, the adaptation of the The Exterminating Angel (1962) sees the group spend the second act trying to leave.
As with all Sondheim scores, categorisation defies description. The closest relation might be the dreamier elements of Passion, with the some ensemble moments hinting at A Little Night Music. With first rate musical preparation and performances, the songs are certainly heard in their best possible light. Playing backstage completely out of sight, the 14 talented musicians thankfully grace the stage for the curtain calls.
Creating a debate that may be argued for decades to come, the songs come to a stop not far into act two. Was this the deliberate plan or did Sondheim leave this world before completing the score? Direction and performances are geared towards the latter; with all characters clearly established, the period of roughly 45 minutes allows for full focus upon the tension of the situation, ultimately leading to a cathartic resolution before Ives has one last surprise in store.
David Zinn’s scenic design begins simply with just a stark white space. Various dining locations are conjured by ingenious flies and the appearance of hidden scenic elements. Act two opens with a grand coup de theatre for the transition to the embassy interior. Natasha Katz’s lighting design is a key aspect in the visual appeal of the glossy staging. Zinn’s sharp costumes speak volumes about the characters, from socialite to sacristan and from Romeo to revolutionary.
Mantello has an easy enough time in act one, with the engine driven by the continued addition of new characters. Act two sees the full cast remain on stage for the whole time; the fascinating variation in positions, combinations, focus, and energy levels is masterful.
What singing actor worth their salt would turn down the opportunity to perform in a world premiere Sondheim musical?
Radiant in powder blue négligée and peignoir, Rachel Bay Jones garners audience affection as sweetly vapid socialite Marianne Brink. Every bit the goodfella in velour leisure suit, Bobby Cannavale gives a gruffly entitled vibe as Marianne’s husband Leo Brink. Hiding their revolutionary leanings, Marianne’s sibling Francis Fritz is given a deliberately enigmatic portrayal by Micaela Diamond.
Blessed with a stunning pair of sapphire Fendi pumps, Amber Gray amusingly captures the neurotic tendencies of power broker Claudia Bursik-Zimmer. Jeremy Shamos submits to the hen-pecked nature of Claudia’s husband Paul Zimmer.
Steven Pasquale, thankfully given a romantic ballad, plays the exotic polyamorous Raffael Santello Di Santucci. David Hyde Pierce is reliably delightful as the Bishop, closet lover of women’s shoes.
In multiple roles of servitude, Tracie Bennett and Denis O’Hare work through a year’s worth of wigs and costumes, varying their caricatures with delicious inventiveness.
Here We Are may not be crafted for widespread appeal, but as one last precious gift from Stephen Sondheim, it is pleasing to see the new musical produced so lavishly and exactingly.
Here We Are plays at The Shed, New York until 21 January 2024. For tickets, click here.
Photos: Emilio Madrid