Review: Belmont University Musical Theatre's Inspiring and Astonishing SONDHEIM ON SONDHEIM

Since his death in 2021, Stephen Sondheim and his canon of work have justifiably been on the hearts and minds of theater people from around the world, with revivals, retrospectives and remembrances filling the calendars of an amazing range of companies paying homage to the master of contemporary musical theater. Just in time for a new season of productions highlighting the Nashville theater calendar, Belmont University Musical Theatre has chosen the aptly named musical revue Sondheim on Sondheim to launch a two-show semester that honors the genius of the master while showcasing the talents of its roster of musical theater majors who continue to add luster to the program's reputation.

When you review theater in a relatively small region such as Nashville's, there are certain things that fill your soul with delight (even as there are those that ensure a sense of dread colors your outlook). For me, knowing I'm likely to witness new iterations of works by Sondheim is something that keeps my own creative juices flowing and my senses to heighten in anticipation of what is to come. Another thing that is sure to pique my interest is the announcement of what's in store from BUMT and its impressive coterie of young talents.

Put the two together - Sondheim and Belmont University Musical Theatre - and I am wont to make a statement like "if the last showtunes I hear are Maya Kaempf's 'Losing My Mind' and Emma Teixeira's 'Not A Day Goes By,' from Sondheim on Sondheim, I can die a very happy man."

And since I am given to making pronouncements like that (particularly after 40 years of writing essays such as this), I can assure you gentle readers that at around 4 p.m. on a particularly gorgeous Saturday afternoon in autumn (Saturday, October 8, to be precise) that was the very thought my brain processed as I reveled in the wonder and art of young people paying tribute to Stephen Sondheim. Directed by Erica Aubrey, with musical direction by Nate Strasser, Sondheim on Sondheim filled me with inspiration and hope in a sublime and enthralling two-plus hours of musical theater.

It was during that moment when I realized once again how very lucky I am - how very lucky we all are in the Nashville theater community - to have such talents to behold and such a wide range of artistic offerings to which we may bear witness. The joy of seeing BUMT's Sondheim on Sondheim performed is like opening a beautifully wrapped package and, in turn, to be overwhelmed by the gift inside.

Originally given a much too short and rather abbreviated Broadway production in 2010, Sondheim on Sondheim is another musical revue in which the master's music is performed - I've seen at least three different revues during my time and I am always similarly dazzled by the musical offerings included - with the very presence of Sondheim himself added to the mix, to offer insights and commentary about his illustrious career and to offer surprisingly frank and elucidating details about his life and the times in which he lived, loved, worked and created.

Sondheim on Sondheim, at first blush, may seem particularly challenging for younger performers to present with any sense of authenticity or honesty - they are, after all, rather young and inexperienced in the vagaries of life to effectively interpret the music and lyrics contained therein - but, of course, the responsibility falls to their directors, the aforementioned Ms. Aubrey and Mr. Strasser, to guide them along the way, offering their own insights and the wealth of their shared experience, in order that these fresh-faced actors may offer startling and stunning renditions that land with a deeply felt emotional impact.

My own artistic prejudices and concerns are wonderfully allayed thanks to the twelve-member ensemble of musical theater majors brought together to breathe rich, vibrant life into the musical revue that is conceived by longtime Sondheim collaborator James Lapine. Employing a multi-media approach to the life and work of Sondheim seems the ideal framework for presenting examples from some 19 different shows (including his major hits, but also sharing some surprising songs from lesser-known shows) in the context of his personal life, his professional life and the collaborators, friends and family in his orbit.

As musical theater history, it could be considered revelatory for the uninitiated or the casual theater-goer, but for any audience member who appreciates talent - onstage or off- - Sondheim on Sondheim is bloody good entertainment! I only wish my schedule allowed me to see it more than once during its one weekend, four performance, run at Belmont's Troutt Theatre.

Performed on a simple yet gorgeous set designed by Will Butler, Sondheim on Sondheim includes performances from some of the composer's best-loved musicals, including Follies, Into The Woods, Sweeney Todd, Company, Sunday in the Park With George, Merrily We Roll Along and Passion, as well as some songs that were cut from shows (including "Smile, Girls" from Gypsy) or were part of his own shows as a student.

The lighting design by Richard Davis and William Niebuhr (I knew without consulting my program that the creative eye and hand of Davis was involved in the evocative, atmospheric illumination of the show) bathes the stage in an otherworldly glow that elevates the production and shows off Butler's setting to perfection.

Aubrey's skill and experience as a performer herself lends a particularly stylish aura to the production and showcases each of her actors perfectly, giving each the opportunity to command the stage, according to her or his particular skill set. The action segues smoothly from song-to-song, with video of Sondheim providing the narrative glue that brings everything together in a dreamlike production concept. Strasser's musical direction allows each performer to shine, bringing the lyrics to life with confidence and vigor. Strasser's piano accompaniment, along with violinist Victoria Whatley, fills the Troutt Theatre with a rich sound that belies the fact there are only two musicians onstage.

The twelve members of the ensemble - Hudson Blake, Delaney Carroll, Maya Kaempf, Chamberlin Little, Miranda McCauley, Sabrina Reed, Christian Sandoval, Noah Sowalskie, Leah Spurlock, Emma Teixera, Catie Whittet and Thaddeus Williamson - together bring the simply divine performance to life, their voices blending beautifully during the various duets, trios, quartets and octets that comprise the musical program, while each is given her or his moment in the spotlight in which to captivate and charm, entrance and engage their audience.

Hudson Blake's stage presence is apparent every time he takes the stage, particularly during "Franklin Shepherd, Inc." from Merrily We Roll Along and "The Best Thing That Has Ever Happened" from Road Show. Delaney Carroll's self-assured and exquisite rendering of "Do I Hear at Waltz" from the show of the same name is a moment I continue to savor more than 18 hours later. Maya Kaempf's performance is notable for "Losing My Mind," as mentioned earlier, and her duet with Sandoval on "You Could Drive a Person Crazy" from Company is inspired.

Chamberlin Little, a native of the area whom we've watched grow as a young man and evolve as an actor for a number of years, is given the responsibility of singing "Being Alive" and delivers an impressive rendition, to be sure. Miranda McCauley's "Loving You" from Passion is heartrendingly presented during the show's second act. Sabrina Reed's "Good Thing Going" from Merrily We Roll Along is delightful and her "Ah, But Underneath" (written for Diana Rigg of the London production of Follies), which puts her onstage with the men of the ensemble in a fun number, is terrific, while "Send in the Clowns" is emotional and heartfelt.

Christian Sandoval shines like a star in the Sunday in the Park With George vignette, in addition to "You Could Drive a Person Crazy" and "The Best Thing That Has Ever Happened." Noah Sowalskie shows off his leading man bona fides throughout the production, especially during "Epiphany" from Sweeney Todd and in his duet of "So Many People" (which I confess is one of my personal favorite Sondheim songs) with Leah Spurlock, who delivers the haunting "I Read" from Passion with astonishing pathos and is nicely paired with Sandoval for "Beautiful" from Sunday in the Park With George.

In addition to "Not A Day Goes By," Emma Texeira sings "Take Me to the World" from Evening Primrose with grace and charm. Catie Whittet gives an expressively knowing rendition of Company's "The Ladies Who Lunch," followed later in Act Two with her superb "In Buddy's Eyes" from Follies. Thaddeus Williams confidently shows off a blend of leading man/comic throughout the proceedings, with "Is This What You Call Love" from Passion and "Weekend in the Country" from A Little Night Music (along with the full ensemble).

In addition to their solo or featured moments, the twelve ensemble members are brought together in several electrifying group numbers - Into the Woods' "Ever After" and Follies' "Waiting For the Girls Upstairs," among them - leading to the Act One finale of "Sunday" from Sunday in the Park With George that is as lovely and as powerful as we have ever heart it, and the finale ultimo of "Company" and "Old Friends" that leads into a stirring moment of "Anyone Can Whistle."

Now, while floating on air thanks to the stunning production of Sondheim on Sondheim, we await breathlessly BUMT's production of Into The Woods, set for November 18-20 at the Troutt Theatre. We fully expect to be startled, stunned and transported: Hope to see you there!

Sondheim on Sondheim. Music and lyrics by Stephen Sondheim. Conceived by James Lapine. Musical arrangements by David Loud. Directed by Erica Aubrey. Musical direction by Nate Strasser. Presented by Belmont University School of Music. At the Troutt Theatre, Nashville. Through Sunday, October 9. Running time: 2 hours, 30 minutes (with one 15-minute intermission).

To post a comment, you must register and login.