Lincoln Center’s American Songbook series has given us some unforgettable evenings over the decades. Last night’s benefit gala, celebrating Stephen Sondheim, goes high on that list.
The folks at Lincoln Center started celebrating music and lyrics back in 1999, with the first two offerings honoring Harold Arlen and Richard Rodgers. Sondheim was duly acclaimed in those days, and had already written most of his musicals. (The initial production of his most recent complete work, Road Show, was produced later that year.) But he was not yet generally seen as being quite in the Arlen/Rodgers echelon. As Sondheim’s work has been revived again and again, the strength and—yes, brilliance—of his work has spread to a general audience to the extent that he has become a celebrity and icon. Which likely has never been his desire.
Sondheim offers an overstuffed archive of songs for use, with any number of items you’d think they must include. Director Lonny Price and musical director Paul Gemignani—both long-time, trusted colleagues of the songwriter—have wisely avoided the pitfall of succumbing to the obvious, so much so that neither “The Ladies Who Lunch” nor “Send in the Clowns” are in evidence. What’s more, they’ve also avoided the habit of medleyizing hits.
They have assembled a well-matched trio of singers, namely Kate Baldwin, Ashley Park, and Donna Murphy, and added a sitting-at-the-side narrator in the person of Petula Clark. Thus, it’s something akin to the format of the 1976 revue Side By Side By Sondheim, only without the men. While the staging was simple, the luxuriant gowns—Park in scarlet, Baldwin in emerald green, Murphy in royal blue—were clearly not wear-your-own.
Finally, they added Gemignani to the mix, conducting what they call the “American Songbook Gala Orchestra,” made made up of the city’s top pit musicians. The orchestra was 30 pieces strong, which means that we got the songs with their original orchestrations (mostly by the uncredited Jonathan Tunick), and how often do we hear Sondheim with a full orchestra? Featuring a 14-piece string contingent, this was actually a larger group than was used in most of the original Broadway productions. Under Gemignani’s baton, the playing was exceptional. (The two Company songs, with non-electric piano in lieu of organ and the absence of the “pit singers,” lacked their original orchestral spark.)
Park, recently of Mean Girls but prior to that a most effective Tuptim in the Kelli O’Hara King and I, started things off well with Little Red Riding Hood’s “I Know Things Now” from Into the Woods. (The narrative of the evening, which was less than scintillating, was built around the notion that Park is younger—much younger—than the others.) She quickly demonstrated, though, that she belonged up there, also shining with “Getting Married Today” and “What Can You Lose?” (from Dick Tracy).
Baldwin, one of our keener musical comedy talents, time after time delivered effortlessly exquisite renditions of songs including “The Miller’s Son” (from the perspective not of a young housemaid but someone who has seen it all); a luscious “Take Me to World” (from Evening Primrose); and a heartfelt “Not a Day Goes By.”
Sitting on the third stool, and singing what was basically the final song in each rotation, was Murphy. The multi-Tony-winner is no stranger to the Bard of Turtle Bay, having created what might be the most difficult role in his canon, Fosca in Passion. (And no, there were no Passion songs sung; nor Forum, Anyone Can Whistle, Pacific Overtures, Sunday in the Park, Do I Hear a Waltz? or West Side Story.)
Murphy started her evening with a “Some People” of such riveting ferocity that it is easily on the level of any Rose I’ve seen or heard. Her “So Many People” (from Saturday Night) came across like an Arlen art song, while “Could I Leave You?”—which she performed in the 2007 Encores! production of Follies—was lacerating. None of this “dust off the songs for a one-night gig” for Murphy; she was in the heart and skin of the character, each time.
Just after I made a note that Murphy was deeply invested in the roles rather than just singing the songs, Baldwin—who seemed to visibly appreciate Murphy’s performance as much as the audience, and who recently played Irene Molloy to Murphy’s Dolly—turned to her and said, “Nobody acts a song like you.” Which is quite accurate.
Ms. Clark, who dominated the airwaves in 1964—back when we had airwaves—with the pop-hit “Downtown,” and who is now 86 years old, seemed an unlikely participant. Late in the evening, she surprised the house by rising from her stool and launching into—what else?—“I’m Still Here,” to a rousing reception. This was followed by a lovely trio version of “Pretty Women,” accompanied by pianist Tedd Firth (who likely prepared the excellent arrangement). Then a curtain call, with all four women joining for “Broadway Baby.”
The composer appeared for a brief curtain speech, praising Lincoln Center and directly addressing the donors who support the Center and American Songbook. “Thank you all for your support of the arts,” said Sondheim. “They need it.”
Beautiful Girls, A Musical Tribute to Stephen Sondheim was presented for one performance, June 19, 2019, at Alice Tully Hall. Series information: lincolncenter.org
