Stephen Sondheim, one of the giants of the American musical theater, died three days ago at the age of 91. Sondheim’s Wiki entry describes him this way:
Sondheim was praised for having “reinvented the American musical” with shows that tackled “unexpected themes that range far beyond the [genre’s] traditional subjects” with “music and lyrics of unprecedented complexity and sophistication”. His shows addressed “darker, more harrowing elements of the human experience”, with songs often tinged with “ambivalence” about various aspects of life.
He initially gained fame as a lyricist, however, having composed lyrics for “West Side Story” and “Gypsy.” And it is as a lyricist that I appreciated him, because although I definitely like some of his more tuneful songs, I’m not really keen on his work as a whole because of what I perceive as a lack of melody and melodic hooks. I may be in the minority there, though.
I also admire Sondheim for his more recent criticism of a newer production of “Porgy and Bess,” a production I saw in Cambridge, MA before it opened in New York City, and I agree with Sondheim 1000 percent. Simply put, the production was abominable.
In doing a search of my blog, I’m surprised to see I never wrote about it, because for a while I was incensed at what I’d seen and I wrote a couple of very lengthy drafts for a post about it and about the black feminist directors who “re-imagined” it. Perhaps some day I’ll polish it and publish it…
But here’s Sondheim on the matter – for which he was heavily criticized, of course:
[Director] Ms. Paulus says that in the opera you don’t get to know the characters as people. Putting it kindly, that’s willful ignorance. These characters are as vivid as any ever created for the musical theater, as has been proved over and over in productions that may have cut some dialogue and musical passages but didn’t rewrite and distort them.
What Ms. Paulus wants, and has ordered, are back stories for the characters. For example she (or, rather, Ms. Parks) is supplying Porgy with dialogue that will explain how he became crippled. She fails to recognize that Porgy, Bess, Crown, Sportin’ Life and the rest are archetypes and intended to be larger than life and that filling in “realistic” details is likely to reduce them to line drawings. It makes you speculate about what would happen if she ever got her hands on “Tosca” and ‘Don Giovanni.” How would we get to know them? Ms. Paulus would probably want to add an aria or two to explain how Tosca got to be a star, and she would certainly want some additional material about Don Giovanni’s unhappy childhood to explain what made him such an unconscionable lecher.
Then there is Ms. Paulus’s condescension toward the audience. She says, “I’m sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.” I don’t know what she’s sorry about, but I’m glad she can speak for all of us restless theatergoers. If she doesn’t understand Bess and feels she has to “excavate” the show, she clearly thinks it’s a ruin, so why is she doing it? I’m sorry, but could the problem be her lack of understanding, not Heyward’s?
Much much more at the link. And let me just say that Sondheim is being kind to these people, who ruined the opera for political reasons, as well as (I believe) aesthetic envy of the work of an actual genius whom they felt the need to cut down to their own size.
But back to Sondheim. Here is my favorite song of his about ambivalence, from “Company”:
And a big favorite here, performed excellently by an unlikely singer:

