Acclaimed for transforming the face of the American musical, he has also been condemned for pessimistic lyrics and unhummable tunes. Simon Fanshawe on a champion of commercial theatre, back in London to revive one of his shows that was panned 20 years ago
There is something intimidating about Stephen Sondheim. It’s not him. It’s his reputation. “Possibly the greatest lyricist ever,” says Cameron Mackintosh, who made his first real money in the theatre from the 1976 revue, Side By Side By Sondheim, and who produced the London revival of Follies in 1987. “For me there is no other,” enthuses the actress Julia McKenzie, his most brilliant interpreter in Britain. “But when I meet him, often my syntax breaks down.” Frank Rich, known as “The Butcher of Broadway” during his 14-year tenure as the New York Times theatre critic, and by no means a consistent admirer of Sondheim, wrote “he has changed the texture of the musical as radically as Oscar Hammerstein, and may yet leave our theatre profoundly altered”. What goes before Sondheim is an extraordinary string of shows, in particular those from the 70s - Company, Follies, A Little Night Music, Pacific Overtures and Sweeney Todd.
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