"Please, Hello" (l to r) Francis Jue, Alvin Ing, Sab Shimono, Rick Edinger, Darren Lee, Evan D'Angeles

We're Opening Doors, Saying "Here We Are"

9:30am - dedicated Sondheim fans of all ages and stripes had formed two lines outside Symphony Space Theatre. I talked to a group of four people in the front of the General Admission line who looked a bit tired. They told me they had arrived at 1:00 a.m., afraid they would get bad or no seats if they waited too long, so they played it safe, as they would not even be allowed in until all Symphony Space members in line by 10:30 had been admitted. And who knew how many would line up on that side? These friendly folk seated on their blue blanket reported that they were alone until 4:45 when the first members came and began their separate line - the $60 annual membership fee ($80 for families, $40 for seniors, only $15 for students) and tightly clutched membership card gave them entrance before any non-members were admitted. Some had joined expressly to be assured seating for this event. The members' line snaked around the block before the doors opened.

Wall to Wall Stephen Sondheim was expected to attract more interest than any other Wall To Wall concert, a series that began in 1978 with a full day of Bach. Ushers and other staff were noticeably calm and helpful throughout the event. Stage waits were minimal. Careful planning and organization were appreciated, as things ran quite smoothly, getting microphones and music stands in place efficiently, and getting the right pianist seated at the piano and the right soloist at the piano (and in two cases, atop the piano). Grace and humor covered any minor problem, extending to the foresight of having the stagehands at night wear T-shirts (also for sale in the lobby) that said "I'm Still Here."

It Started Quiet and Slow, With No Surprise.

At 11:00am the quiet, civilized buzz turned to a hush and things began without a flourish or fanfare or further ado. Artistic Director Isaiah Sheffer welcomed the crowd, and the show and live radio broadcast (XM Satellite Radio) began. Cell phones were turned off and the excitement was turned on (as were radios all over the world). The Mayor's Proclamation was read, and the praise for Sondheim began.

Funny, You're a Man Who Likes Children. That's An Important Sign

Musical Theatre International, performing Into the Woods Junior

Something Familiar, Something Peculiar, Something For Everyone.

Most of the people sitting around me were serious fans; they occasionally mouthed the lyrics, anticipated the jokes in the lyrics, nodded knowingly, and moved in the way you do when the song is in your muscles. The program offered plenty of the famous songs, but not everything was so familiar, and that was one of the delights of the day. There were songs from the late 1940s and the pre-West Side Story days. Even Sondheim know-it-alls probably did not know "How Do I Know." How do I know? Because it's been virtually unheard since he wrote it for a college show. This charmer and "I Must Be Dreaming" date to 1948. Emily Skinner presented "I'm In Love With a Boy," which was from 1951, the year Sondheim composed the violin sonata appropriately titled "A Very Short Violin Sonata," which also graced the morning hours as a respite from all the singing.

No, I Never Do Anything Twice. Except....

Those who stayed for every moment (and there were many, including the 20-year-olds in front of me and the elderly couple who chatted me up on the bus on the way home) heard a small number of songs repeated. A few that had been sung reappeared instrumentally. "Send In The Clowns," of course, came up twice, first as a solo by cabaret class act Karen Akers, and later by an impressive Michele Pawk, adding detailed textures to the original theatre context, with the dialogue and exit by the man in question. "Being Alive" was given perhaps the day's most underwhelming reception when a barefooted Nora York gave her own arrangement, which she called a "deconstructed" jazz interpretation. Patti Lupone later treated the anthem to a more traditional and vibrant rendition.

The melody of the already well-known "Losing My Mind" appeared twice as well. Donna Murphy's rendition in the last half hour was exquisite and exciting. She truly acted the song, fully inhabiting it. She clutched a shawl and closed her eyes, portraying a person in emotional pain, but also in active thought. Her phrasing was a copy of none of the many versions I have heard. Starting quietly, it built to a dramatic conclusion with increasing vocal power. A spoken introduction to an earlier performance of this Follies number provided an unintentional moment of comic relief. Georgia Stitt was introducing the three pieces she had arranged for singers and string quartet. Her mind went blank on the name of the third song and when one of the string players prompted her with the title "Losing My Mind," to her credit, she laughed and said it seemed as if she had, for the moment.

"Children Will Listen" came up three times, sung first by the children mentioned above, some singing in the aisles. B. D. Wong had a go at this cautionary number in the last segment, and in between the melody was heard via the Ying String Quartet with "Children and Art" in a skilled arrangement by Andrew Lippa. It was a reminder of the power and achingly beautiful quality of the melodic line. And while "Another Hundred People" were lining up outside, Wall To Wall regular Ivy Austin appeared twice with the same melody. She sang not only the original lyrics but a parody of them, in two different segments. The parody lyric, by Lauren Mayer, was about how difficult many Sondheim songs are to remember, with their changing, tricky rhythms and many, many, many words. The crowd roared as she lamented, "and another hundred lyrics just went out of my brain" in the clever reworking of Company's "Another Hundred People."

Leave You, Leave You, How Could I Leave You?

Inside, the crowd was frequently asked, begged, cajoled, guilted, nagged, and nearly threatened to give up their seats so the people who had been waiting for hours could enter the theatre and sit down. Some took the point and left, but apparently nowhere near enough. Isaiah Sheffer was alternately pleading and hilariously funny (trying to convince people they were hungry, pretending the next segment was boring, asking listeners to pay attention to the words of the song: "Move on, move on, move on"). When cast members from Assassins came out for a number with their guns, we wondered if the hints were getting a bit more threatening? No, we were just getting a bit punchy.

L to R - Frank Rich, Melissa Bernardo, Andrew Lippa,
Josh Whedon, Stephen Sondheim

Isn't It Rich?

Frank Rich came on stage as one of many to speak or be interviewed. Now, with his days as powerful New York Times theatre reviewer receding into the past, he amusingly called himself "a reformed critic." The talk segments were low-key with mixed results. Never dry erudite pontifications, and trying to eschew long, gushing worshipful speeches, these segments had some interesting moments.

Are We Pair?

Musicologist and radio host Jonathan Schwartz's regular Saturday WNYC-FM/Satellite Radio show coincided with the 12 noon-4 pm hours and he presided and broadcast live from the stage. He and Bernadette Peters had been scheduled to be partners in this, but she phoned it in - literally: She had to bow out when work on a TV pilot took her to California, but a phone hook-up let her make some comments. It was odd, but charming in a way. Her presence was missed.

Send In The ...

Collaborators and peers had insights to share on topics such as Sondheim's influences and his work's impact on "pop" culture, and the art and habits of collaboration. Bookwriters John Weidman and James Lapine shared recollections of their separate experiences with the songwriter, Lapine also being a director. Other songwriters (Richard Maltby, Jr. and David Shire, Jason Robert Brown, Andrew Lippa) had valuable comments. Regular listeners of Schwartz's radio shows over the decades know he is a great admirer of Sondheim, but he chose to play it coy and casual, being provocative. The birthday boy himself was very down to earth and articulate. The clarity and precision he brings to choosing words for songs has always been reflected in his answers to interviewers' questions. His famous wit comes through as well. He discussed many things, including the plans for a major motion picture of Sweeney Todd, now in the hands of writer John Logan (The Aviator), director Sam Mendes, and a leading man whose name was not revealed as a deal has not been set. He did not shy away from talking about the troubled Bounce, but we were treated to only one song from that score.

Isn't It Bliss? Don't You Approve?

Angela Lansbury and George Hearn

I am not going to mention every singer and song, but I must praise to the skies the two Michaels. Michael Cerveris was everywhere, it seemed. Magnetic, focused, charismatic - pick whichever adjective you like, they are all true. His versatility was impressive, although one must remember that he had an advantage over many of the others, as he had previously performed much of the material, recently in Assassins and Sunday In The Park With George at Ravinia. The other Michael is newer on the scene. Michael Arden lit up the stage in each of his appearances, soloing with a thoughtful and shaded "Giants In The Sky" and charming in the brief bits in Forum's "Free," sung mostly by lyricist Sheldon Harnick, who was also delightful. The talented Mr. Arden has already appeared in major musical roles and has a very bright future, no doubt.

An especially nostalgic and well-performed segment was "Waiting For The Girls Upstairs" from Follies. This is the number where the four main characters sing with their younger selves. Three original cast members who had played those younger selves - Kurt Peterson, Harvey Evans, and Marti Rolph - appeared in the number, "graduating" to the older versions of the same characters. It was quite moving, especially as they had to interact with those now playing those younger versions. Outstanding as one of the younger characters was the lovely Emily Loesser, who I wish had more to do in this show - or any show. For pure pizazz and savvy, I am always happy to be in the presence of Debbie Gravitte and Phyllis Newman, whose actual birthday it was, showing great comic timing.

Several performers currently on Broadway stopped by between matinee and evening performances. Joanna Gleason's comic performance was a delight, whether seen or heard on the radio. Props and great facial expressions were the icing on the cake. George Lee Andrews who played the butler in the original A Little Night Music performed his character's cut song, "Silly People," as he had done in the 1973 Sondheim tribute. Carolee Carmello, Judy Kaye ... it was joy after joy. On a night off from Little Women Danny Gurwin was great to hear, singing the role of Henrik, which he has played in productions of A Little Night Music.

One can always count on Liz Callaway, KT Sullivan and Melissa Errico to add class and grace, with emotional and theatrical vocal presence but also in-the-moment phrasing. Last but not least, I'd like to bring attention to Telly Leung whose bright-eyed energy made him very watchable among the Pacific Overtures performers, all talented in their own right. But Mr. Leung seemed to glow from the inside (or had bribed the lighting director).

Someone Is On Your Side, No One Is Alone

The singers worked beautifully with the musicians, who were given due respect and applause. I'd like to mention a few younger pianists who were on a great deal and gave great support and showed skill and class: Josh Rosenblum, Sam Davis and Rob Berman. Not to take anything away from the veterans who showed their usual skills.

The piano and orchestral order of the day seemed to be mostly the original arrangements and accompaniments we know and love. They sounded splendid, never tired or sloppy. Great care was taken. In some newer arrangements, The Ying String Quartet played exquisitely in three welcome segments. A special nod to Andrew Lippa and Jason Robert Brown, two of the shining stars of the new generation of musical theatre composer-lyricists. They were a strong presence, offering new arrangements which treated the master's work with respect and dignity while bringing a fresh look which enhanced them. Bravo.

For the last segment, piano and small bands gave way to The American Theatre Orchestra (and at the end, a chorus for the finale, "Sunday" - which it very nearly was at concert's end). Paul Gemignani, Jonathan Tunick, and Charles Prince took turns masterfully conducting. It sounded glorious. It was a pleasure to watch the orchestra play the Merrily We Roll Along overtures and accompaniment to songs we know instead of hearing them from the orchestra pit or the CD player's speakers.

Yes, I Know, Goodbye For Now ....

Gratitude to Isaiah Sheffer who wore many hats, including host, producer, and performer in a couple of numbers. It was overwhelming. What more can I say? I am at a loss for words which, fortunately, Mr. Sondheim is not. I'd like to propose a toast. Here's to the future. Happy birthday and thanks for the gifts.