Sondheim and Ives' HERE WE ARE at The Shed — Page 3

I wish to God this announcement came with even one piece of casting and and a video of a song, to give us something to talk about. Because the “will this go to Broadway” conversation is the same thing discussed before “Road Show” and we all know how that turned out.

Jordan Catalano said: "I wish to God this announcement came with even one piece of casting and and a video of a song, to give us something to talk about. Because the “will this go to Broadway” conversation is the same thing discussed before “Road Show” and we all know how that turned out."

I can give you a couple lyrics from Finale, lol

In the Act 2 opener (at least what it was several years ago), Marianne sings:

"I like things that shine about me, I like things that glow"

Then the soldier says:

"Would you like to dance, miss?" and puts his arms around her waste.

In response, Marianne sings:

"Why can I not be free? Why do I like what I see? And not what I know?"



Another lyric from a "half-finished verse" not attributed to any character or song, but probably from the second act is, "Life in this room, in this gorgeous God-damn room"

I don't know that I trust Cameron Mackintosh's word about how complete the show was. Who knows where he got the 50-60 percent figure, whether that was Sondheim's judgment or his own. To be sure, this production won't be what we'd have seen if Sondheim had lived to see it produced, but I also wouldn't be shocked if it's close to a complete score, with maybe a handful of moments Sondheim had intended to expand into song. While Sondheim himself described it as incomplete not long before he died, the language both Nathan Lane and David Ives have used to describe its status indicates something close to complete.

By the way, another morsel of a lyric:

If it isn't the sun, it's the birdsong.

If it isn't the air, it's the view.

I'm completely undone by the endless abundance of life.

Aren't you?

In the Dramatists Guild's magazine tribute issues to Sondheim, in a convo between Lapine, Weidman and Ives (lead by Lin-Manuel Miranda), Ives finishes things off by saying that they were looking for a home for the show, and that it's basically finished. He and Mantello had a lot to do with shaping it for the reading that happened in the weeks before Sondheim died. And that conversation probably took place late last summer? And all of those collabs. say how damned hard Steve was on himself, and how much he relied on them to buoy him-- even when they weren't specifically working with him at the moment. (He spoked with Lapine and Weidman at least once a week as long as he knew them.)

Lapine, both in that piece, and in PUTTING IT TOGETHER, says that he thought "Lesson No. 8" ad "Children and Art" were basically finished-- as far as he was concerned-- long before they actually made it to the copyist and rest of the company. But Steve didn't think so...

In terms of the "Who could finish it?" question (which I think will turn out to be moot)-- Lin-Manuel Miranda is not a composer in the same league as Sondheim melodically or harmonically. He totally lacks sophistication in both departments. Both JRB and Guettel (and, to some extent, Scott Frankel-- a very rich and unique harmonist) have very different harmonic sensibilities, however indebted they might be to Sondheim. In fact, I only think a contemporary of Sondheim's could perform the masquerade passably-- but, except for John Kander, they're all dead.

I hope the powers that be leave well enough alone. The people who know and care will just be thrilled to hear whatever he left behind. But I think it's more finished than Macintosh says. In fact, I wouldn't even trust him to get my luncheon order right, let alone offer insight into Sondheim's work. Remember, he's the man who insisted "The Road You Didn't Take" be cut from FOLLIES.

Someone in a Tree2 said: "Of course these fragments of lyrics mean practically nothing without the context of the scenes in which they belong. But does anyone else here get the eerie sense that these resemble lyrics that a ChatGPT4 program might have spit out if asked to mimic a Sondheim-like quatrain?"

I don't, especially with the subtle rhyme in the line I'm completely unDONE by the endless aBUNdance of life. Aside from that, I do suspect that GPT4 could probably fool most of us by cooking up something in the style of any particular lyricist.

TotallyEffed said: "SEEKING THE FOLLOWING ROLES AND UNDERSTUDIES:

MARIANNE – Female (cis, trans, or non-binary), 35-45, any ethnicity. Ethereal. Daffy. A cool beautywith a warm heart. Capable of unexpected lyricism.A terrific singer with a large vocal rangespanning from chesty and conversational to lyric soprano. Strength with rhythm is a plus.



LEO – Male (cis, trans, or non-binary), 60’s, any ethnicity. Charming billionaire. Ruthless, insatiable, alittle crude. Some non-strenuous singing. Strength with rhythm is a plus.



RAFAEL – Male (cis, trans, or non-binary), 50’s, any ethnicity. Cosmopolitan and suave, great-looking. Has great charm and humor. Lyric baritone with some vocal power, not bottom heavy, vocally. Strength with rhythm is a plus.



CLAUDIA – Female (cis, trans, or non-binary), 40’s, any ethnicity. Fleshy, sexy, hungry, loud,entertaining, always happy to take exception or pick a fight. Excellent comic and dramatic skills.Some non-strenuous singing. Belt/mix. Could be a character sound. Strength with rhythm is a plus.



PAUL – Male (cis, trans, or non-binary), 40’s, any ethnicity. Laid back, low-key, and always nice with anunderlayer of anxiety. Has solid but understated comic skills. Some non-strenuous singing. Baritonewith good rhythmic skills.


FRITZ – Female (cis, trans, or non-binary), 25-35, any ethnicity. A political rebel fromupper-middle-class Greenwich. Angry at the world. Lonely. Sulky. Self-Starved. Strong singer. Rolerequires vocal flexibility ranging from chatty belt to lyricism.



COLONEL – Male (cis, trans, or non-binary), 50-60, any ethnicity. Comically block-headed andstrong-jawed, all-business and no-brains. Comically appealing because he’s so deeply unaware. Minimalsinging.



SOLDIER –Male (cis, trans, or non-binary), 25-30, any ethnicity. Very attractive. A dreamer, searcher,natural-born poet in love with the idea of love. Excellent singer. Lyric baritone with some goodtenor notes. Warm vocal sound.



BISHOP – Male (cis, trans, or non-binary), 50-70, any ethnicity. Sweet, gentle, endearingly lost. Greatcomic skill, natural personal appeal, and good singing skills. Bright character tenor.



WOMAN – Female (cis, trans, or non-binary), 50’s, any ethnicity. Multiple and very diverseparts. Comically inventive and transformational. Impeccable comic accent(s). Strongvoice. Think Kurt Weill meets French Chanteuse. Broad and big vocals.



MAN – Male (cis, trans, or non-binary), 50’s, any ethnicity. Multiple parts. Superb comedy,accents, strong character work and good singing. Character baritone range."

I think it’s pretty clear Lane must’ve played Leo in the reading. What do we think about Bernadette?

In this article, Sondheim’s biographer David Benedict says “only about 60% of the piece was written.” However, a commenter on the article claims a 2017 draft of the show was “122 pages with songs throughout.” I’ve heard a draft of the show has circulated but I haven’t seen anything of it.

Maybe Sondheim and Ives scrapped that draft when they restarted work on the show during the pandemic? Or maybe Benedict is repeating Mackintosh’s quote?

I hope we know more about what this production will be soon. His 93rd birthday would be a good day to provide an update…

I, for one, think that Megan Mullally could be formidable casting for "Claudia". I don't know her range too much, but, hell, she could probably deliver an inspired "Marianne," too.

Come to think of it, I'd like to see Megan Mullally's take on many of Sondheim's females: Desiree or Charlotte, Mrs. Lovett, Sally, Cora Hoover Hooper, The Witch...

Updated On: 3/23/23 at 12:50 PM

Article posted today on Theatermania...



https://www.theatermania.com/news/story-of-the-week-everything-we-know-about-stephen-sondheims-final-musical-here-we-are_1439788/?fbclid=IwAR0a-I9fTN2EwzCsszrUncLRcHJACaS6la0BX6MePJCB5wa-KtoSWdjL03E

Performance dates appear to be September to January 2024 according to the audition notice (sorry if a already posted).

Anyone thinking that Nathan is indeed doing this because Pictures is not extending? It says must close April 30 and I have inside info Studio 54 will be vacant until spring 2024…he is also filming no movies…just wanted to hear what u guys think…he also was very close to McNally and his partner is producing this…