Sondheim & Ives’ HERE WE ARE headed to London’s National Theatre in 2025- Page 5

[theatergoer3]

Posted: 4/15/25 at 1:33pm

Which seemingly has been happening more often/with almost every show with the National or at least Lyttleton. Can’t wait to hear reports/see the NT Live. 

[binau]

Posted: 4/15/25 at 1:43pm

It's just frustrating because obviously it's selling so well (probably better than NYC) that I can't even go to new first preview or in fact any of the early dates. 
 

[Jordan Catalano]

Posted: 4/15/25 at 1:45pm

I believe every show at the NT lists the dates a show is filmed, even for their own archives. 

[binau]

Posted: 4/25/25 at 7:20pm

Well I always seem to find a way to get in the room - the first preview in London has just happened. Wow, the production is absolutely stunning with a proscenium stage and proper walls. It makes the show feel much more immersive and really makes the transitions and different spaces feel more 'real'. I don't know if anyone saw Fun Home at the Young Vic but I was reminded of the stunning scene where suddenly the elaborate mansion appears. I thought the show and cast were excellent - now that I 'know' it I was much more able to just focus on enjoying the show rather than trying to focus on hearing what new music we have. It's the 'same' production and show but with this cast has its own quirky new feel. I think I would even say I enjoyed it more here than in New York City. You'll miss some areas of the New York cast but at the same time appreciate what new they have brought to the roles. Tracie Bennett and Denis O'Hare were on fire. Especially very special for Tracie Bennett to be on her home turf impressing with a brand new Sondheim role, she must love it. 

Updated On: 4/25/25 at 07:20 PM

[Robbie2]

Posted: 4/25/25 at 9:34pm

Sondheim’s final musical Here We Are starts performances at the National Theatre.

Here they are in London!

https://www.whatsonstage.com/news/sondheims-final-musical-here-we-are-starts-performances-at-the-national-theatre_1675003/

Updated On: 4/25/25 at 09:34 PM

[binau]

Posted: 4/26/25 at 5:41am

 

Thoughts on the cast and some other random comments: 

• Overall, and I know it's strange to say but it is noticeable - the New York City cast as a group were an attractive bunch with very polished performances. It definitely felt like they had the rich asshole vibe down pat. Here, the group as a whole look a bit more normal and are a bit less polished which I think actually makes the show a little looser and funnier. I remember laughing a little harder this time than I did in NYC as did the audience. Some of the lines also take on new meaning, such as the reaction to "what is the name of the president" given it's 2025 and not 2023. 
• Tracie Bennett - stunning in every way. Her vocals are in top form, she is hilarious playing all these different characters and each one feels like a mini transformation/play in itself. Feels like an Olivier/Tony performance to me. This is the closest we've ever had to Judy Garland originating a Sondheim role. 
• Denis O'Hare - vocals sound even better than I remember at the first New York preview (he was off sick very soon after and I saw his understudy in New York so maybe he was sick). Perfect odd/strange/creepy vibes that fit the show tone perfectly and I LOVED watching the audience react to the 'latte later' lines for the first time. It was like you could hear the relief in the audience that "Here We are" has some classic Sondheim nuggets. 
• Martha Plimpton - first 5 minutes I was thinking she wouldn't be able to match Amber Gray but very quickly it became evident she is hilarious and she plays the role kind of like as Patti/Joanne which is hilarious 
• Paulo Szot - his look added a bit of sleaze factor (a character who is attractive but not as attractive as he thinks he is) and it was beautiful to hear his voice sing some of the Claudia lines
• Jane K - she has a pleasant sounding voice not quite of the same technical and pitch standards as Rachel Bay Jones, and a very strong Act Two. I do think Rachel Bay Jones' hilariously strange sincere vacant vibe really added more depth to the character than what is written on the page, and Jane K is channelling the same energy but it's not quite the same. That said, her recognisable face does some of the heavy lifting to make it feel like we know the character and it is kind of cool to see the balance of the show with a name/'star' in the lead role. I found it a refreshing enjoyable casting decision
• Harry Hadeon-Paton - look you're never going to be able to compete with whatever that thing that David Hyde Pierce seems to be able to do and I have a feeling that DHP would have been another transfer if he wasn't already busy but I thought he did a fine job and his experience doing the speak-singing thing is technically perfect I suppose he has had a lot of practice with My Fair Lady 
• Cameron Johnson - he is physically a much larger presence than the NYC which perhaps makes the character a little more impactful
• Rory Kinnear - I appreciated that he can hold a tune (just) a little better than Bobby C which made some of the songs (that feel a little throwaway to me) a bit more enjoyable. 
• Chumisa D-M - wonderful hearing her belt on some of Sondheim's best musical moments in this score 
• Jesse Tyler Ferguson - his recognisable face/humour/persona adds a lot to one of the less charismatic characters. Jesse is a big Broadway fan and quoted one of my posts years ago defending Marin Mazzie's crying in next to normal in one of his parodies of this forum. Jesse, if you are reading this CONGRATULATIONS you must be completely overjoyed that you get the opportunity to do this I am so happy for you!
• Richard Fleeshman - for those that don't know he played Andy in the Patti Company revival in London. And my god he is SO HOT it felt like the whole theatre and chemistry between him an Chumisa was SIZZLING. Excellent voice singing some of Sondheim's most melodic melodies in this score (even if it sounds a bit like Passion). I don't think we 'need' a cast recording of this cast but I would have loved to have Richard's tracks in a studio
• Was very cool hearing the complete 'exit music' at the end too

Most of all, I continue to be shocked and impressed at the lavishness of this production and the efforts involved to make this a 'real' Sondheim show. While I don't think the writing is there the same way of his previous shows, as a distinct property it does stand alone as a 'real' Sondheim show like Company or Sunday in the Park with George. The idea of this show ever going to Broadway seemed ridiculous to me at the Shed, but now you know I COULD see it if they could manage to find an ensemble of stars that would also likely never happen. The show really works for me. I could see this on Broadway before Road Show, Passion or The Frogs. 

And I could cry at how amazing the return of investment in being a Sondheim fan continues to be over the years. We truly get the best artists working on the best material between New York and London. 

 

Updated On: 4/26/25 at 05:41 AM

[SteveSanders]

Posted: 4/26/25 at 8:10am

Appreciate the thoughtful and detailed comments on the show.  Has me even more excited to see it next week.  Someone on All That Chat mentioned he felt the humor was landing more already than in NYC.

[SteveSanders]

Posted: 5/1/25 at 5:35pm

Greatly enjoyed this production tonight.  I think this cast has found more laughs in the second half.  Really top notch overall and seemingly well-received by the full house.  I most missed David Hyde Pierce. His excellent comedic timing and vocal inflections got a lot more out of the priest role, particularly the shoe fetish moments, than Harry Hadden-Paton, but that is a minor quibble.

Updated On: 5/1/25 at 05:35 PM

[Jordan Catalano]

Posted: 5/1/25 at 6:51pm

For the most part, I actually enjoyed this more at The National than I did at The Shed but s few things like the “shoe scene” in act two didn’t land at all for me here, and it was one of the most beautiful things ever in NY. Fascinating to see this with a totally new cast, though. 

[SteveSanders]

Posted: 5/3/25 at 12:53pm

Caught this one last time today when an affordable matinee seat appeared last minute and far closer to the stage than earlier in the week.  Again, more sustained laughter throughout the show than what I recall in NYC and at almost everything.

I asked some of the Brits around me and they said it appeals to their dry wit (Frasier reruns are apparently quite big here).  They also thought that the average British theatre patron might love Sondheim more than that average person seeing the show in NYC.

Act Two also seems to move more quickly and more interestingly than at The Shed.  I wish I had better recall of what may or may not have changed.  Maybe Mantello will do an interview about it some day.

Casting must play into the strong positive reception as well.  I do wonder if the secret sauce of the National Theatre complex/South Bank area has a subtle effect as well.  People co-working in the lobby spaces, hundreds of people eating and drinking at multiple venues inside and outside, et al.  It is just very convivial and energizing.

So glad to see packed houses enjoying the show and hope that is a positive sign for future productions.

Here We Are has been a bright spot among a week of plays well-received by Londoners that I found lacking and lackluster.  That will change tonight with Lithgow in Giant though.

Updated On: 5/3/25 at 12:53 PM

[bear88]

Posted: 5/3/25 at 1:17pm

It’s interesting to see the early, positive reactions saying Act Two works better even if its pivotal scene in New York was the slipper scene - and the marvelous interplay between David Hyde Pierce and Rachel Bay Jones - even without a song.

While I thought Jane Krakowski was as good a replacement, at least on paper, for Jones as I could imagine, David Hyde Pierce is kind of a unique actor. I am glad to hear the show is doing well despite his absence.

Updated On: 5/3/25 at 01:17 PM

[jacobsnchz14]

Posted: 5/7/25 at 1:04pm

https://www.facebook.com/watch/?v=692964323094041

[rattleNwoolypenguin]

Posted: 5/7/25 at 2:50pm

The surreal nature of this show seems perfect for British audiences. There's a Monty Python absurdity with the restaurants in Act One

[Robbie2]

Posted: 5/8/25 at 12:53pm

[Robbie2]

Posted: 5/8/25 at 12:54pm

Robbie2 said: ""

[Robbie2]

Posted: 5/8/25 at 12:55pm

Robbie2 said: "Robbie2 said: ""

"

[TotallyEffed]

Posted: 5/8/25 at 12:56pm

Bring it to Broadway.

[KevinKlawitter]

Posted: 5/8/25 at 1:11pm

TotallyEffed said: "Bring it to Broadway."

Here's the question - if it comes to Broadway, would it be the London cast, the Shed cast, or (pending availability) a new cast?

[TotallyEffed]

Posted: 5/8/25 at 1:12pm

KevinKlawitter said: "TotallyEffed said: "Bring it to Broadway."

Here's the question - if it comes to Broadway, would it be the London cast, the Shed cast, or (pending availability) a new cast?"

 

I don't think any force on the planet earth could reunite the Shed cast and that is all I will say about that.

[SteveSanders]

Posted: 5/8/25 at 1:56pm

On the whole, I think the London cast actually mines the material for better results.  Of course the creative team may also have made some refinements and/or provide additional direction based on what was learned at The Shed.

[binau]

Posted: 5/8/25 at 2:30pm

TotallyEffed said: "KevinKlawitter said: "TotallyEffed said: "Bring it to Broadway."

Here's the question - if it comes to Broadway, would it be the London cast, the Shed cast, or (pending availability) a new cast?"



I don't think any force on the planet earth could reunite the Shed cast and that is all I will say about that."

Are you suggesting they didn't get on????

[MezzA101]

Posted: 5/9/25 at 7:40am

Here We Are, National Theatre, review: Stephen Sondheim musical is more Severance than sing-a-long

https://uk.finance.yahoo.com/news/national-theatre-review-stephen-sondheim-000125206.html

[goldenboy]

Posted: 5/9/25 at 8:02pm

Those poor Brits

Now they are going to have to suffer during this piss poor Sondheim Musical.

Awful night of disjointed unfinished theatre.

[BorisTomashevsky]

Posted: 5/9/25 at 8:10pm

goldenboy said: "Those poor Brits

Now they are going to have to suffer during this piss poor Sondheim Musical.

Awful night of disjointed unfinished theatre."


I tend to agree. The funny bits were very funny, but if this had been written by anyone else it would have been run out of town. 

[BJR]

Posted: 5/9/25 at 8:15pm

goldenboy said: "Awful night of disjointed unfinished theatre."

This again? It was finished. Mantello planned to do it, and Sondheim agreed, considering it done. Or as done as something can be before a production.

You can wish it was different, or wish he could've been alive to work on it in performance. But it wasn't unfinished.