Sondheim and Ives' HERE WE ARE at The Shed- Page 26

[ErmengardeStopSniveling]

Posted: 8/28/23 at 3:25pm

I'll admit I got chills with Frank Rich making the title comparison of AWAY WE GO! (R&H first collab) and HERE WE ARE (Sondheim's final piece).

I'm more excited and assured to see this now, whether it's a great work of art or something more academic.

I also let out a sick laugh every time one of Sondheim's notorious excuses for not writing was cited (a dentist appointment, an ingrown toenail, waiting for new paper to arrive, etc)

[bear88]

Posted: 8/28/23 at 3:52pm

That was a fascinating read, and even if it leaves open a few questions, it confirms what I have suspected: that this is a sincere effort by talented artists - who have worked with Stephen Sondheim for years, in some cases decades - to both complete and present the show. Will it work? No clue. But it helps to get an idea of what to expect, and what not to expect.

I’m probably just slow, but I was a little confused about the references to second act interludes. Is there supposed to be underscoring during those sections? Will any music in the second act be non-singing variations of the music from the first act? Or will there be no music at all? I guess I will find out in October - and undoubtedly before that, when people see the first previews.

It was striking to get answers to questions about why the project started and stopped, what was going on with the other musical, Sondheim’s macular degeneration (which would make it awfully hard to write music, regardless of other factors), and the confirmation that Sondheim’s lawyer was working to get permission from the Bunuel estate again after the reading and more than two months before his passing. Also nice to read, even though it was less of a surprise: His mind was sharp and he was as wry and entertaining as ever, right up until the very end.

[ErmengardeStopSniveling]

Posted: 8/28/23 at 3:58pm

bear88 said: "I’m probably just slow, but I was a little confused about the references to second act interludes. Is there supposed to be underscoring during those sections? Will any music in the second act be non-singing variations of the music from the first act? Or will there be no music at all? I guess I will find out in October - and undoubtedly before that, when people see the first previews."

It's possible that those are instrumental underscoring (they referenced a dance arranger and orchestrator possibly being able to put those together even while Sondheim was alive) or vocal reprises or some combo of the two. Seems intentionally vague. 

[Dom P]

Posted: 8/28/23 at 4:08pm

JSquared2 said: "RippedMan said: "But I do wonder how the Shed of all places got this and not the Public or Playwrights where he has a history."



Probably because The Shed is the newest and shiniest of the bunch. The Public is still fairly cool (and has a LOT of money), and Playwrights Horizons is where your grandparents go.

Apprarently, The Public's money situation was part of the reason for them cancelling The Under the Radar programming. ,so maybe they don't have as much money as people think.    It is fantastic that Sondheim's final work,is being done. And for that im very happy and grateful.

 

[ErmengardeStopSniveling]

Posted: 8/28/23 at 4:16pm

If you read the article it explicitly says why The Public is no longer producing it.

SONDHEIM TOLD PAPPAS that he was officially authorizing a production of Here We Are. The producer Tom Kirdahy was enlisted to make it happen. The plan was to put it up while Steve was still around to see it. To tamp down over-the-top expectations, it was agreed that the piece should not be staged at a commercial venue or at a nonprofit theater like the Public with a track record of sending productions on to Broadway. “If we could do it in the atrium of the Guggenheim or Whitney, we would,” Pappas was fond of saying.

[BoringBoredBoard40]

Posted: 8/28/23 at 4:24pm

Several things in that piece seem off, also that still seems like a phenomenally weird reason that the show ended up at The Shed, why not BAM?

[ljay889]

Posted: 8/28/23 at 4:25pm

In regards to act 2, It’s mentioned Sondheim had written up to the moment they are trapped in the room. I’m assuming this happens early in act 2, but it sounds like there will be at least a little Sondheim music until this moment, and then Alex Gemignani and Tunick finish the act with the mentioned underscored “interludes.” 
I could be wrong, but this is the impression I’m getting for act 2. 

[devonian.t]

Posted: 8/28/23 at 4:26pm

I think it's naive to think that the anticipation wouldn't be huge no matter where this show was put on.

This piece seems like an attempt to tamp down the wild speculation there has been about the lack of music in Act 2 and to make it clear that this decision predated Sondheim's death by a considerable time. Of course we will always wonder "what if" given his track record for revisions during previews.  

[bear88]

Posted: 8/28/23 at 4:29pm

ErmengardeStopSniveling said: "bear88 said: "I’m probably just slow, but I was a little confused about the references to second act interludes. Is there supposed to be underscoring during those sections? Will any music in the second act be non-singing variations of the music from the first act? Or will there be no music at all? I guess I will find out in October - and undoubtedly before that, when people see the first previews."

It's possible that those are instrumental underscoring (they referenced a dance arranger and orchestrator possibly being able to put those together even while Sondheim was alive) or vocal reprises or some combo of the two. Seems intentionally vague."

I don’t mind vague. They may still be working it out, for all I know, or they may not want to give everything away. I just wanted to make sure I wasn’t missing something.

[ErmengardeStopSniveling]

Posted: 8/28/23 at 4:32pm

BoringBoredBoard40 said: "Several things in that piece seem off, also that still seems like a phenomenally weird reason that the show ended up at The Shed, why not BAM?"

Because this business runs on relationships and maybe Tom Kirdahy preferred to work at The Shed, or the timing worked out better, or something else entirely. The Shed has virtually no track record of success because it's so new and they stand to gain a lot from this. In terms of avoiding a nonprofit, it prevents people from saying "well, it's no HAMILTON" (Public) or "it's no SUNDAY" (Playwrights Horizons) or "it's no MERRILY" (NYTW), with possible comparisons for St. Ann or BAM or elsewhere too.

None of that really matters though. What matters is that it's being produced.

[jkcohen626]

Posted: 8/28/23 at 5:34pm

I'm actually very intrigued by the idea of spoken interludes with underscoring that feel like they should be songs, but aren't. The actors want to sing, but they are locked in speaking, mirroring the predicament of their characters. 

[AnythingYouDo]

Posted: 8/28/23 at 6:14pm

When the production of Here We Are was first announced, I'd hoped we'd get exactly this: an account of Sondheim's work on the show up to his death as well as what work has been done on the show since his death. It seems clear that, while this is not the show that would have premiered had Sondheim lived to see it produced, it is considered complete by its creative team.

As a side note, I hope the song Sondheim wrote for All Together Now sees the light of day eventually.

[nycward]

Posted: 8/28/23 at 6:24pm

The Shed was a wonderful space to present Straight Line Crazy earlier this year. I and many others enjoyed it immensely. As soon as I got my tix for Here We Are I've been envisioning it on that stage and I think after reading the Frank Rich interview it is an inspiring choice.

[TotallyEffed]

Posted: 8/28/23 at 7:20pm

Imagine the writers of First Date waking up to the news that their show killed a budding Sondheim musical. 

 

[musikman]

Posted: 8/28/23 at 7:46pm

TotallyEffed said: "Imagine the writers of First Date waking up to the news that their show killed a budding Sondheim musical.

"

That made me LOL. 
 

This article was such a cathartic and reassuring read.  I really have no other way to describe it.  I had to assume all along with the creative team behind it, they would not have presented something with either A) Sondheim’s approval before his death B) an extreme amount of care and respect.  

Even if it’s a completely bizarre and disjointed piece, it’s going to be a fascinating experiment and I can’t wait to see it. 

[Fordham2015]

Posted: 8/28/23 at 7:47pm

TotallyEffed said: "Imagine the writers of First Date waking up to the news that their show killed a budding Sondheim musical."

That was one of my favorite details in the piece, along with Sondheim bitching about Arthur Laurents

 

[RippedMan]

Posted: 8/28/23 at 8:28pm

ErmengardeStopSniveling said: "If you read the article it explicitly says why The Public is no longer producing it.

SONDHEIM TOLD PAPPAS that he was officially authorizing a production ofHere We Are. The producer Tom Kirdahy was enlisted to make it happen. The plan was to put it up while Steve was still around to see it. To tamp down over-the-top expectations, it was agreed that the piece should not be staged at a commercial venue or at a nonprofit theater like the Public with a track record of sending productions on to Broadway. “If we could do it in the atrium of the Guggenheim or Whitney, we would,” Pappas was fond of saying."

I think that's the answer right there. The Shed is kind of an under the radar venue, which is what they wanted. 

[ljay889]

Posted: 8/28/23 at 8:53pm

I find it fitting that the final musical from the legend who helped redefine musical theater will be a show with little to no music in act 2. This will be something that we’ve never seen before, and it feels so right that it’s coming from the man who gave us Company, Follies, Pacific Overtures, and Sunday. 
I’m really looking forward to this. 

[CATSNYrevival]

Posted: 8/28/23 at 10:19pm

Being based on two different films it sounds as if this show will play as two related one acts. Act one will be a musical and act two will be a play. There have been shows before this that play as two (or three) related one acts. I wouldn’t say it’s something we’ve never seen before.

[JoeW4]

Posted: 8/28/23 at 10:32pm

CATSNYrevival said: "Being based on two different films it sounds as if this show will play as two related one acts. Act one will be a musical and act two will be a play."

 

Based on the info at our disposal, I wouldn't agree with this description. The article specifies that they've adapted the films in such a way as to create a sense of continuity between the acts - the characters in Act 1 are the same characters as in Act 2. And even aside from that, it's clear that they envision it and treat it like a unified piece of theatre. And more specifically, as a piece of musical theatre - one that employs a strategic lack of songs in the 2nd half.

[ljay889]

Posted: 8/28/23 at 10:59pm

Yeah, the strategic lack of songs in act 2 is what I was referring to. What other musical has ever been constructed like this musically? It feels like a new concept, and it feels right for Sondheim’s final piece. 

[Mr. Wormwood]

Posted: 8/28/23 at 11:44pm

What a wonderful article. One of the best I've read in a long time. I loved all the clarifications it gave about this show but also all the anecdotal stories about Sondheim and his creative process.

[devonian.t]

Posted: 8/29/23 at 12:20am

I'm reminded of that scene in the Amadeus movie where a ballet is danced with no music.  I look forward to the big finale production number...

[Robbie2]

Posted: 8/29/23 at 12:40am

[Robbie2]

Posted: 8/29/23 at 12:41am

Robbie2 said: ""