Sondheim's Final Musical: HERE WE ARE (Off-Broadway) - Critics' Reviews- Page 2

[MemorableUserName]

Posted: 10/23/23 at 12:05am

3 Stars from NY Stage Review:

Here We Are: A Minor But Welcome Final Addition to the Sondheim Canon

https://nystagereview.com/2023/10/22/here-we-are-a-minor-but-welcome-final-addition-to-the-sondheim-canon/

[MemorableUserName]

Posted: 10/23/23 at 12:06am

NYT Critics Pick from Green:

‘Here We Are’ Review: The Last Sondheim, Cool and Impossibly Chic

This inventive, beguiling and not quite fully solved puzzle of a show is a worthy and loving farewell to the great musical dramatist.

https://www.nytimes.com/2023/10/22/theater/here-we-are-review-stephen-sondheim.html?searchResultPosition=1

[MemorableUserName]

Posted: 10/23/23 at 12:08am

Theatermania:

Review: With Funny and Moving Here We Are, Stephen Sondheim Leaves One Last Puzzle Behind

https://www.theatermania.com/news/review-with-funny-and-moving-here-we-are-stephen-sondheim-leaves-one-last-puzzle-behind_1718874/

 

[MemorableUserName]

Posted: 10/23/23 at 12:09am

Holdren in Vulture:

The Last Midnight: Sondheim and Ives’s Here We Are

A strange, dark, fragmented, and compelling final message from the master.

https://www.vulture.com/2023/10/theater-review-sondheim-here-we-are.html

(As always, Holdren is a delight to read.)

"The intellectual justification for bleeding the music from the play as it progresses holds up. But then, one can learn to intellectually justify pretty much anything; that’s what grad school is for. As the play’s ensemble, all exceptional actors, threw themselves into spoken drama-and-trauma, I remained a bit distanced. Again, we know this arc, and there’s still convention to it, even if it isn’t musical — shouting, crying, basically realistically expressed recrimination and breakdown. What would have been the un-conventional musical-theater way forward for Here We Are?

It’s not an answerable question, and that’s okay, but it’s still one that buzzes around one’s head throughout the show’s latter half, like a fly that’s difficult to bat away. The moments when it subsides most are the tender ones, particularly another midnight with Marianne, this one shared by a benign oddball of a bishop (a wonderful, wistful David Hyde Pierce). He has turned up unexpectedly, just before the existential lockdown — why? Because, as Pierce sing-splains in high understated-comic form, he’s looking for a new job. (Of course he is: This world is godless, faithless, spiritless, conscienceless. Who needs a little priest?)"

Updated On: 10/23/23 at 12:09 AM

[MemorableUserName]

Posted: 10/23/23 at 12:09am

Variety:

‘Here We Are’ Review: Sondheim’s Final Musical Is a Surreal and Starry Feast

https://variety.com/2023/legit/reviews/here-we-are-review-stephen-sondheim-final-musical-1235764499/

[MemorableUserName]

Posted: 10/23/23 at 12:16am

Washington Post is mixed:

‘Here We Are’ brings Sondheim back to us. Just not as a raging success.

The world-premiere musical is blessed with a dazzling cast and design, but a sense of incompleteness diminishes its impact

https://www.washingtonpost.com/entertainment/theater/2023/10/23/here-we-are-sondheim-mantello/

"Why, the musical asks, can’t the music end if the story no longer requires it? (There are two mini numbers in Act 2; after that, Tunick’s underscoring carries us through to the end.)

The second-act problem here, though, is that the story loses altitude without the buoyancy of music. All the vivacity Mantello effectively builds up in Act 1 — on Zinn’s gorgeous all-white set with mirrored doors — lapses after intermission into tired philosophizing.

We’ve been through sharper existential crises with convergences of Sondheim characters over the years: the painted figures stuck forever together on the Seurat canvas in “Sunday in the Park with George,” the fairy-tale denizens wandering bewildered in the forest of “Into the Woods.” We’re consoled in “Here We Are” with one more chance to gather together with Sondheim, to hear his irreplaceable voice on a stage. The resulting evening might not be stuck at square one, but it doesn’t satisfactorily cross the finish line, either."

[MemorableUserName]

Posted: 10/23/23 at 12:22am

Telegraph:

Here We Are: Sondheim’s swansong is clever and ambitious – but not a crowd-pleaser

3/5

The late composer's last musical has finally made it to onto a New York stage – but it won't be remembered as one of his best

https://www.telegraph.co.uk/theatre/what-to-see/here-we-are-stephen-sondheim-review/

 

[walnutoraroach]

Posted: 10/23/23 at 12:24am

Slant Magazine:

Here We Are Review: Stephen Sondheim’s Final Master Class Is Small and Funny and Fine

https://www.slantmagazine.com/theater/here-we-are-review-stephen-sondheim/

 

[MemorableUserName]

Posted: 10/23/23 at 12:24am

NY Theatre Guide:

'Here We Are' review — a star-packed slice of surrealism

4 stars

https://www.newyorktheatreguide.com/reviews/here-we-are-off-broadway-review-stephen-sondheim

[ljay889]

Posted: 10/23/23 at 12:28am

Overall, these reviews seem to be what I expected. Very happy to see the Critic's Pick from Green.

[EDSOSLO858]

Posted: 10/23/23 at 12:28am

The “little latte / lotta latte” lyric some of these reviews quote is reminiscent of a lot of Sondheim’s later work, where he lets the alliteration and turns of phrase in his lyrics shine through. Genius. 

Again, I come back to “What’s the muddle in the middle? / That’s the puddle where the poodle did the piddle.” 

Updated On: 10/23/23 at 12:28 AM

[Jarethan]

Posted: 10/23/23 at 12:37am

EDSOSLO858 said: "The “little latte / lotta latte” lyric some of these reviews quote are reminiscent of a lot of Sondheim’s later work, where he lets the alliteration and turns of phrase in his lyrics shine through. Genius.

Again, I come back to “What’s the muddle in the middle? / That’s the puddle where the poodle did the piddle.”"

Listen to Lucy and Jessie.  Its lyrics are incredibly intricate, with not a weak link in the intricacy.

[EDSOSLO858]

Posted: 10/23/23 at 12:42am

Jarethan said: "EDSOSLO858 said: "The “little latte / lotta latte” lyric some of these reviews quote are reminiscent of a lot of Sondheim’s later work, where he lets the alliteration and turns of phrase in his lyrics shine through. Genius.

Again, I come back to “What’s the muddle in the middle? / That’s the puddle where the poodle did the piddle.”"

Listen to Lucy and Jessie. Its lyrics are incredibly intricate, with not a weak link in the intricacy."

Yep! "Switching roles" with aplomb.

[ErmengardeStopSniveling]

Posted: 10/23/23 at 12:48am

Very pleased to read these (especially Green and Holdren), though I would still love to know what a casual, non-Sondheim-obsessed theatergoer thinks of it and if it can stand on its own with no context. I liked the show a great deal even if it doesn't rank up there with Sondheim's best works.

I don't have any knowledge of the producers' plans, but considering that the Shed run is a commercial production and they have no other announced shows until Branagh's LEAR a year from now, I wonder how long this could extend there (with or without the same cast)? Like, maybe a 9-month run at the Shed and then a London production is the best we could hope for for this quirky show and economic climate?

Updated On: 10/23/23 at 12:48 AM

[EDSOSLO858]

Posted: 10/23/23 at 1:00am

I too am pleased, but I can’t help but wonder that if Steve had lived, and if he had found a way to further musicalize “The Exterminating Angel,” the reviews would’ve been even better. 

There’s clearly a greater sense of loss when the grand piano disappears.

[bear88]

Posted: 10/23/23 at 1:11am

More Holdren, because she captures the tensions inherent in the show very well, while also lavishing deserved praise on Rachel Bay Jones and David Hyde Pierce and my favorite scene:

“Yes. Being. Well,” [Pierce's priest] goes on, coughing a bit. “First of all — you might say — we’re here. Actually here! On earth. Most likely. Though perhaps not. As are other people, and also objects…. And that means something. That we’re here. We mean something, apparently. We are what you might call matter that matters. Or not. Depending on who you read.” Pierce’s touch is delicate, and Bay is radiant with glad attention. It’s the culmination of the playfulness of the show’s title: a banal little phrase that could signify a delighted arrival, or a hopeless assessment of the circumstances, or an articulation of astonishment at our very existence."

Holdren writes that the "logical conclusion of [the show's] premise is so dark, so extreme, that you can feel the opposing, more compassionate (or at least more ambivalent) instincts of the show's creators kicking back."

"Here We Are is torn between its reasonable desire to obliterate its characters and its aspiration, if not quite to save them, then to remain open-ended as to where they—and we—go from here. If it’s sometimes a muddled impulse, it’s also a humane one. Sondheim certainly didn’t go gentle into the apocalypse of late capitalism, but he didn’t go heartless either. He stayed complicated. He gave us more to see."

[MemorableUserName]

Posted: 10/23/23 at 1:20am

NYP: 1 1/2 stars from a typically negative Oleksinski.

‘Here We Are’ review: Sondheim’s last musical sadly doesn’t sing

https://nypost.com/2023/10/23/here-we-are-review-sondheims-last-musical-doesnt-sing/

[Impeach2017]

Posted: 10/23/23 at 2:00am

Overall, it was a pretty good night for the late SS, and congratulations to the people who managed to pull this off!

[binau]

Posted: 10/23/23 at 2:21am

1. These did seem to come out as expected. However, ultimately we all know that only one review (The NYtimes) will actually really last as a historical record, so I'm happy that Jesse Green decided to give it the seal of approval. I can't help but wonder whether he is so happy to get to be the 'Frank Rich'-style supporter (e.g. of Sunday) of the show and avoid being the last NYTimes chief critic to trash one of his original productions haha. But I'm not complaining

2. One of my fears was that some critics would be lazy - taking a quick scan even at some of the negative ones I think some people have have a sincere attempt and I don't disagree intellectually with some of the complaints as we have already discussed here, even if they don't actually affect my experience seeing the show. However, I have to call out and name and shame this review below for being the prototypical example of LAZY.

- A headline dismissing as 'unfinished' (how easy)
- Is there a typo where they have actually misnamed the show???? Screenshot before someone corrected

- Barely any detail or reference to the score
- The second act completely dismissed 

https://www.amny.com/news/ambroadway-sondheims-unfinished-swansong-here-we-are-leaves-audiences-underwhelmed/

Feels soooo lazy.

3. I realise after scanning some of these comments I think when it comes to getting opinions of shows I would mainly just prefer to read the comments on this board + NYtimes. People here are more to the point and I've kind of learned a bit about them so I actually feel I often get a better sense of the shows

4. Even though the reviews are as-expected, actually seeing them does somewhat emphasise to me that I think "The Shed" is the end of the road for the show (which is fine! Because the only thing a Broadway presentation would be useful for is a potential wider audience, Tony Awards, and maybe a theatre that feels a little nicer inside haha. Otherwise, the production itself, creative team, cast etc. are all obviously Broadway quality as it stands). 

 

Updated On: 10/23/23 at 02:21 AM

[JasonC3]

Posted: 10/23/23 at 8:12am

Someone over at All That Chat got some of the good stuff last night and inhaled generously as he predicts these reviews ensure Here We Are will one day be produced more than Into the Woods.

[kidmanboy]

Posted: 10/23/23 at 9:08am

Reading the Vulture review made me love the show even more.  Also glad I didn't read the review before seeing the show, because it gives away A LOT.  

Especially in their thoughts about the ending.  I see intent where they see hesitancy and contradiction.  Spoiler ahead:

 

Click Here To Toggle Spoiler Content

The Vulture review seems to think Sondheim and Ives copped out in not having the rich eat themselves, if you will.  However, I think the fact that they end up still charging forward despite the purported end of the world seems more fitting and more realistic.  The rich destroying themselves seems like a pipe dream at this point.  Despite attempts at revolution, and a world-wide reset like COVID, here we are (ha!) exactly where we were doomed to do the same thing over and over again.  But let's go get brunch!

I really loved this show and found it to be essential and exciting theater.  Perhaps this is the way theatergoers felt when they saw early Sondheim for the first time (the only show of his I saw as a premiere was Road Show - and that certainly didn't feel this vital or timely).

[BETTY22]

Posted: 10/23/23 at 9:56am

WOW! I was on the fence about seeing this show, but after reading NYT review I got tickets.

Cannot wait. 

Updated On: 10/23/23 at 09:56 AM

[SisterGeorge]

Posted: 10/23/23 at 10:17am

MemorableUserName said: "Holdren in Vulture:
"...The intellectual justification for bleeding the music from the play as it progresses holds up. But then, one can learn to intellectually justify pretty much anything; that’s what grad school is for...."

Perfectly put and so very true.

 

 

[jbm2]

Posted: 10/23/23 at 11:42am

What is the running time? 

[Sutton Ross]

Posted: 10/23/23 at 11:56am

So, completely mixed reviews for a show that is clearly unfinished. Makes sense to me, especially the review stating "a sense of incompleteness diminishes its impact".