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| Stefanie Caccamo - Nigel Huckle - Caroline O'Connor - Bert Labonte - Michael Cormick |
Words and Music by Stephen Sondheim - Devised by Stephen Sondheim & Julia McKenzie
Directed and choreographed by Cameron Mitchell - Musical
Direction by Kevin Wang
Musical Supervision: Guy Simpson – Set Design: Nick Fry –
Costume Design: Nigel Shaw
Lighting Design: Trudy Dalgleish – Sound Design: Michael
Waters
Produced by Craig Donnell – Associate Creative Producer:
Sharon Millerchip
The Foundry Theatre, Sydney. 6th January to 15th February,
2025
Opening night performance on 8th January reviewed by BILL
STEPHENS
This staging of Putting
It Together at Sydney’s Foundry Theatre stands as a testament to the
enduring genius of Stephen Sondheim, elevating his work through meticulously
considered interpretation and a deep reverence for musical theatre artistry.
The production is both a captivating entertainment and a probing exploration of
the intricate craftsmanship that defines Sondheim’s compositions. Each number
unfolds as a finely crafted dramatic vignette, allowing the cast to mine the
emotional and psychological layers within the material while imbuing their
performances with nuance and authenticity.
Originating in 1992, the revue reflects Sondheim’s
collaboration with Julia McKenzie as they curated a program that bridges the
gap between earlier revues and significant works spanning 1976 to 1992. The
evening draws from an array of musicals—Sweeney Todd, Merrily We Roll Along, Sunday
in the Park with George, Into the
Woods, Assassins—and includes
selections from the film Dick Tracy,
offering audiences a panoramic view of Sondheim’s creative evolution.
Central to the presentation is the intriguing ambiguity of
its structure, which features two couples navigating the complexities of
intimacy, underscored by an ever-present observer who threads thematic
resonance throughout the evening. The question of whether these couples are
unique or manifestations of the same relationship at different junctures is
left deliberately unresolved, inviting reflection and interpretation.
Nick Fry’s set design conjures the sophistication of an
upscale New York penthouse, swathed in elegant white drapery and anchored by
twin baby grand pianos flanked by an expansive percussion setup. This refined
environment is further enriched by thoughtful touches—a well-supplied cocktail
cabinet, a generous lounge, and an elegant staircase—that set the stage
for the characters’ interplay.
Director Cameron Mitchell’s vision eschews fidelity to the
source context, instead urging his cast to reinterpret each song through the
lens of the revue itself. His choreography is crisp and expressive, and his
direction supports a cohesive, unified production that respects the spirit of
Sondheim’s work while encouraging fresh artistic discovery.
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| Michael Cormick - Caroline O'Connor |
Caroline O’Connor commands attention as the senior partner of the older couple, her rendering of “Could I Leave You” (Follies) and “Ladies Who Lunch” (Company) balancing technical mastery with emotional weight. Her impeccable comic timing, especially in ensemble moments like “Getting Married Today,” attests to her consummate skill and stage presence.
Michael Cormick admirably complements O’Connor, lending the
proceedings a restrained gravitas and vocal warmth. His performances in “Good
Thing Going” (Merrily We Roll Along)
and duets such as “Have I Got a Girl for You” and “Pretty Women” resonate with
sincerity.
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| Stefanie Caccamo - Bert Labonte - Nicholas Till (piano) -Nigel Huckle |
Stefanie Caccamo makes a striking impression, displaying versatility and assurance, particularly in her standout delivery of “More” from Dick Tracy. Nigel Huckle delivers memorable work in “Marry Me a Little” and “Unworthy of Your Love,” bringing clarity and feeling to each phrase.
Bert Labonte sets the tone for the evening, deftly guiding
the audience before launching into “Invocations and Instructions to the
Audience” (Frogs), and continues to
enrich ensemble and solo numbers, notably “Buddies Blues” (Follies), with dynamic energy.
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| Caroline O'Connor - Bert LaBonte |
Musically, Guy Simpson and Kevin Wang merit special mention for their innovative arrangements, translating Jonathan Tunick’s orchestrations into a compelling tapestry of piano and percussion that heightens the lyricism of Sondheim’s songs. The company-wide choral adaptation of “Being Alive” emerges as a climactic highlight.
In sum, this production of Putting It Together demonstrates meticulous attention to detail and
sensitive artistry, cementing Sondheim’s reputation as a towering figure in
musical theatre. It offers audiences—whether devotees or newcomers—a vibrant
and illuminating journey through some of the most significant achievements in
the genre.
Photos by Daniel Boud
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au
