The spirit of one Broadway’s most celebrated composers and lyricists relives through this parody piece paying tribute to his legacy through a pair that loves farce. Guillermo Nazara shares his views on the show, to let us know if the company manages to put it together.
Oh, lovely Stephen Sondheim. I wonder what you’d think of me if you knew how many times I’ve said I really don’t care for your music. Everybody says don’t, but I still will – because they can’t silence me. And to be honest, the day I start losing my mind about your lyrics is far from getting close. But who knows? It may happen… someday… I’m getting the feeling that whoever is reading me is getting both triggered and aroused by my writing. It’s okay. I understand how confusing those emotions are when your start falling for someone. It happened to me too when I first became infatuated – I’m just that irresistible.
Anyway, send in the clowns – meaning the thespians, though these two surely have quite a droll attitude. Nobody’s complaining about it, though. Enter Summoning Sondheim – a parody cabaret where two groupies attempt to do… well, exactly what the title suggests… with the Broadway legend who some have nicknamed ‘the American Bard’. A dark room (its proximity to the Soho scene has clearly served its influence) preludes the whimsical road we’re about to walk down. In there, a solitary diva dressed in what looks like a cross between a Greek nymph and Not-So-Little Red Riding-Hood awaits in silence – eager to tell us the story of the man who’s inspired her dreams (perhaps, every kind of them…).
Love him or hate him, Sondheim’s legacy in the global theatre scene is undeniable. A show like this makes sure we don’t forget about it, either – just as they make clear they are not that -shall we say, enthusiastic?- about Andrew Lloyd Webber’s oeuvre; albeit they do manage to…echo… a bit of his repertoire all throughout… (though to me, calling that similarity plagiarism is like allowing Richard Rodgers to claim copyright ownership of the C Major scale).
The fan drive of the piece is blatantly obvious; and also, inevitably palpable. Yet, its ability to poke fun at itself, as well as b*tch-slap its most hardcore supporters, is tremendously refreshing – and that’s, in truth, what makes of this montage a mildly enjoyable experience. Interluding several curiosity facts about Sondheim’s personal and artistic life, set in between its rather quizzical musical parody numbers, the show manages to do a noble homage to the composer’s genius, while also delivering a fair amount of tonge-in-cheek playfulness.
However, there’s a lack of narrative evolution that compromises the whole effectiveness of the jaunt – too often, giving the impression of remains permanently stuck on its starting point, and only exploring the different sides of the same concept, without providing any room for evolution. As a result, the final sensation is not that of a fulfilling journey, but more of a convolution of ideas which, had they been refined and handled in a more proper manner, could have led to something much more gripping and memorable. Sadly, though, there’s still a larger spectrum to cover before reaching that state.
In any case, performers-creatives Grace O’Keefe and Erin Holland are nonetheless capable of carrying quite a praiseworthy rendition – flaunting marvelous vocals, infectious energy and, as for Holland, also exceptional comedic timing. Consequently, Summoning Sondheim gets the crystal ball rolling by capturing the essence of a witty but also simple, feel-good piece of entertainment, which also advocates for talent and artistic integrity. Yet, at this moment the show is only as good as to be married a little – since as much as its follies are kept high, there’s still some lacking structure, progress and passion to be brought, side by side, into the woods before it can begin being alive. It’s pleasant enough for a Saturday night, but needs a little more zest before becoming something so enduring that anyone can whistle.
Summoning Sondheim concluded its run at London’s Seven Dials Playhouse on 2 November. Further shows and tickets are available on the following link.