Sondheim's 'Side By Side' Is All About The Songs

Side By Side By Sondheim

A Musical Entertainment

Music and Lyrics by Stephen Sondheim and music by Leonard Bernstein, Mary Rodgers, Richard Rodgers, Jule Styne

Directed by Rick Lombardo

Musical Direction by Todd C. Gordon

Lighting Design, David Kahn; Costume Coordination, M. Bevin O'Gara; Scenic Design and Sound Design, Rick Lombardo; Stage Manager, Paul D. Farwell

CAST:  Leigh Barrett, Jonathan Colby, Brendan McNab, Maryann Zschau

Performances through July 22, 2007 @ New Repertory Theatre

Box Office 617-923-8487 -or- www.newrep.org

As a diehard theatre lover, I am not interested in taking the summer off from live performances. However, I'll opt for Coward over Chekhov, Ludwig over LaBute, and, if I'm seeing any Shakespeare, it'll be a comedy al fresco. Given a choice, I'll go with the musical genre and New Repertory Theatre's Side By Side By Sondheim fits the bill nicely. 

Under the direction of Producing Artistic Director Rick Lombardo and narrated by Emerson College senior Jonathan Colby, the WERS (88.9 FM) deejay from "Standing Room Only," this show is decidedly lighter fare, with lots of tongues-in-cheeks and more than a smattering of wry mugging by its accomplished cast. They look like they're having a great time and it adds to the enjoyment for all.

The story here is that there really is no story. Colby's relaxed narration is a little bit background history and a little bit play-by-play. The real tale telling comes through Sondheim's amazing array of lyrics and the interpretations offered by the singers. I could comment on nearly every one of the thirty-plus songs, but each of the cast members has a single number that really stands out as his or her "eleven o'clock" showstopper.

Maryann Zschau gets to display her comedy chops as she channels Madeline Kahn channeling Greta Garbo in "I Never Do Anything Twice" from the Sherlock Holmes film The Seven Percent Solution. Straddling a chair and fondling a big, fat cigar in a sensual way, Zschau adopts an appropriately Bavarian accent and attitude and serves this petit four dripping with double entendres. The dim, warm background lighting contributes to the intimate feeling of watching a cabaret act.

It is somewhat ironic that a female character sings "Could I Leave You" in Follies, but Brendan McNab's power packed rendition takes a different slant and hits hard in the solar plexus. He finds just the right balance between hurt and anger, and saccharine and sarcasm, alternately singing and spitting out the words that tell us how he has been wronged and what he might do about it. 

Another of Sondheim's heavy, emotion-laden songs (also from Follies), "Losing My Mind" is more or less owned by Barbara Cook. Sh-h-h, don't tell her that Leigh Barrett has purloined it for purposes of this production. She begins with a carefree expression as she describes constantly thinking about her lover, talking about him to friends, spending sleepless nights, and feeling like she is losing her mind, in a good way. Then, as the realization seeps in that she may have mistaken his kindness for love, anguish and fear slide over her face like a mask and her voice takes on an agitated, almost manic tone. The combination of watching and listening to her version tugged forcefully on my heartstrings. Standing "O" quality.

In Act One, Side By Side is loosely divided into sections featuring songs about marriage and several selections from both Company and Follies. Much of the show's silliness is front loaded, particularly when McNab gets hoisted with the rising curtain, but he comes down to earth for a very credible duet with Zschau in "You Must Meet My Wife" from A Little Night Music. Lombardo and his cast dig every carat of humor out of "Getting Married Today" before McNab gets serious with the strange and beautiful "I Remember" from the teleplay Evening Primrose. Not to be missed is the parade of hats worn by Leigh and Maryann as Brendan warbles "Beautiful Girls," followed by Barrett's adorable kewpie doll-ish "Broadway Baby."

Act Two offers single choices from some lesser-known musicals, such as Anyone Can Whistle, Do I Hear A Waltz, and Pacific Overtures. At least ten of Sondheim's shows are featured in the revue, and that's not counting others that may only have snippets of songs included in "Conversation Piece (medley)" near the end of the program. Colby gets to step out from behind his podium and join the others to sing the final number "Side By Side" and yes, for you inquiring minds, he has a good voice.

The set design is in the category of less-is-more, but it looks classy with a chandelier and a long swath of flowing white fabric draped above the two baby grand pianos, placed nose-to-nose. Having Musical Director Todd C. Gordon and piano 2 Joshua Finstein (on press night) with their instruments seated upstage allows them to interact with the singers and evokes the feeling of a cabaret or concert hall, further augmented by David Kahn's lighting effects. Some of the props are to be expected, like the trumpet in "You Gotta Get A Gimmick," while others take us by surprise - and I won't spoil it for you.

Sondheim has been called the greatest lyricist of our time, as well as a first rate dramatist. His music is notoriously difficult to sing, but these three pros make it sound easy. The cast assembled here does justice to his work in the acting department as well, many of the songs becoming mini-musicals in their gifted hands. West Side Story comes alive as Maryann and Leigh share the spotlight for "A Boy Like That/I Have A Love," the latter's powerful soprano evoking a "Wow!" reaction from me. (Makes me wonder how she might have pulled off the role of Maria in a younger day.) Special kudos to McNab for playing both genders - and equally well, I might add - and really getting in touch with his feminine side. He has demonstrated a broad range of talent in diverse roles this season and now he is also "one of the girls!"

What it all comes down to in the end is that New Rep's Side By Side By Sondheim lives up to its subtitle: A Musical Entertainment. While at times it tries a little too hard to be cute or funny, it is extremely entertaining. Take the body of work of an American treasure, package it with solid and creative direction, add talent, talent, and talent, and we're gonna be (better than) alright.

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