7 Responses to “Review – Saturday Night by Stephen Sondheim, Jermyn Street Theatre”

  1. Minimus Says:

    I saw Saturday Night on, well, Saturday night, and to be honest, I found it an extremely enjoyable show. I normally baulk at the actor musician thing that seems to be so “in vogue” at the moment, but I felt that this was the ideal way to solve the problems created by the size of the venue. I have to admit that I did not feel so keenly the balance problems that happened with you all – but then, I wasn’t sitting with my back to the piano. I felt that the actors blended beautifully between singing, acting and playing and was wowed with their ability to pull it all off so naturally. The sense of humour that this gave the piece (a trombone sliding comically over the head of a fellow actor, a swanee whistle trilling cheekily from the side) gave it meaning and justified the choice of piece for this company and this venue. I agree that it was the piece that was at fault here, but from Primavera’s previous work, they are clearly dedicated to reviving “lost works”, and I feel that they did the piece justice, and it was intriguing to catch glimpses of the Sondheim of later years. All in all, I thought the young ensemble cast was charming and talented and I felt it was a strong evening of good quality fringe theatre – good on ’em!

    Suffice it to say, I would NOT call myself an “anal Sondheim completist” and yet I managed to sit through it without too much pain, in fact quite the opposite. So I implore all to take the Whingers comments with a slight pinch of salt… see it for yourselves!

  2. JohnnyFox Says:

    Front Porch in Flatbush

    is that a tonsorial euphemism too?

  3. webcowgirl Says:

    Hmm. I’m not too convinced by Sondheim completism at any rate, but how does this forgotten Cole Porter musical strike you?

  4. stephen Says:

    yeah well what can i say. love your blog


  5. Sir Andrew Lloyds Credit Crunch Says:

    @ stephen – Lost your email addy. I’m looking for a lyricist. You may well fit the bill. Are you available?

  6. JohnnyFox Says:

    Your seating experience was much better than mine. Booked via SeeTickets (the Lloyd Webber booking ‘engine’ I believe) we were given UN-numbered seats whereas much of the rest of the audience who had booked with the venue were given numbered ones, so we got the Ryanair seats (back row, no legroom, no recline) AND a minute before curtain asked to stand and move one place to the right by a harridan from the management so that someone sitting on the end could get a better view (even though he had three empty seats in front of him to which he could easily have moved).

    Clearly Elly from the Tricycle has got a new job.

    As to the show, concur with your points. Moderately interesting to see the seeds of Sondheim’s later bitterness about love, marriage and speculative share-trading … but one revival in ten years is about enough. The one at the Bridewell ten years ago was superior.

    Blackman is capable, although her hair looks as if it was done by the Council, and Ricardo-Pierce cute as a button as he was also as Anthony in Sweeney Todd (John Doyle/Sarah Travis) at the Trafalgar Studios. Two to watch.

    Apart from that, much amusement at the astonishing collection of NOSES on the boys in the band … everything from Jimmy Durante to a minuscule tip-tilted button on the blond pianist – but all deserving of surgery.

  7. lesley Says:

    thought it was nice. nice costumes, nice voices and nice movement – just nothing special at all.

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