Alexis LaNelle Maxwell, Jason Adam Lerma, Michael Cartwright, Duane Campbell, Erin Campbell, Julianne Freeman, Fredrick Goff, and Kimberley Parsons-Whitaker Photo by Angela Jackson

That this production accomplishes this seemingly effortlessly is a testament to how terrific the cast is and how well staged and designed it is. Connecticut Theatre Company is a community theater, which makes this triumphant all the more remarkable. The show is a feast for Sondheim enthusiasts, and will likely make fans of those who are new to Sondheim's work.

All of the members of the cast have moments to shine, both individually and in a group. One of the early highlights is the Kimberley Parsons-Whitaker singing a gorgeous "Take Me to the World," which is followed up with Parsons-Whitaker and Michael Cartwright delivering a touching "So Many People." Another stand out is Erin Campbell, who sings a funny and frantic "The Wedding Is Off" and then performs an aching "Good Thing Going."

Other high points include Duane Campbell's fiery "Franklin Shepard, Inc." and Alexis LaNelle Maxwell leading a terrific "Now You Know." And one of the scariest moments in the show is Frederick Goff delivering a momentous "Epiphany." The glory of this company of actors being able to succeed terrifically as a group is exemplified by a great "Waiting for the Girls Upstairs." And the cast ends the first act with an exquisitely harmonized "Sunday," which is sure to move audience members to tears.

If the first act is a triumph, the second half is even better. Erin Campbell delivers a stunning "Losing My Mind" and Parsons-Whitaker matches her with a searing "Not a Day Goes By." The magnetic Jason Adam Lerma is a standout in "Opening Doors" and follows that song up with a tender "Beautiful," accompanying Parsons-Whitaker superbly. Julianne Freeman is a vocal wonder singing "Do I Hear a Waltz?" and really gets to show off a lovely soprano voice. Michael Cartwright sings a strong "Being Alive," which is accompanied by lyrical choreography by Kim Saltzman and Angelina D'Albero, the accomplished dancers in the show.

Other high points in the second act include Parsons-Whitaker singing a frightening "In Buddy's Eyes," before delivering a sophisticated yet heartbreaking rendition of "Send in the Clowns." Erin Campbell is quite fine doing a scintillatingly staged "Ah, But Underneath." Just about every number is a winner in this production and the show is also a pleasure visually, with attractive costumes by Giganta Smalls and atmospheric lighting by Kathryn Lewis. The sound design by Ben Silverman is terrific and Angela Jackson is the ideal music director.

There are two factors that make Sondheim on Sondheim even more powerful and poignant than when it was on Broadway in 2010. The fact that Sondheim has passed since this show was on Broadway adds a major degree of heartache of not only hearing his songs performed, but also watching him on the video screen. Also, all of the numbers from Merrily We Roll Along (and the discussion about the failure of the original production of that show) take on a new sheen now, after the Merrily revival triumphed on Broadway this past season.

Everything feels newly minted in this production of Sondheim on Sondheim at Connecticut Theatre Company, thanks to how masterfully the show has been directed and how magnificent the entire company is. With this show, Connecticut Theatre Company proves it is a theatre company to keep an eye on and I look forward to their holiday production of A Christmas Carol.

Sondheim on Sondheim runs through September 15, 2024, at Connecticut Theatre Company, 23 Norden Street, New Britain CT. For tickets and information, please visit www.connecticuttheatrecompany.org.