by Nathaniel R
Back in the early days of the internet, when listserv discussions were the norm, I remember engaging in a robust discussion about what the best musical ever written was. Someone said "the one about the murderous barber and the meat pies" and online friends began riffing on that response. Answers followed like "fairy tale characters collide" "a commitment-phobe turns 35", "a French pointillist epic " and "the one about old showgirls reuniting / reiminiscing". It took a while before the spell was broken and a musical not written by Stephen Sondheim entered the discussion and even some of those, like "the rise of a burlesque star and her overbearing mother" and "two street gangs in New York City" had Sondheim's fingerprints on them. While the conversation began in a tongue-in-cheek way, the answers were genuine. It was hard to shake the realization that there were at least a half dozen shows by the same artist that could legitimately battle for the title of Greatest Show Ever Written. It was, quite frankly, awe-inducing.
I've never felt more spiritually transported in a Broadway house than during Sunday in the Park with George. And reverence is what everyone who knows what there is to know about musicals feels for Sondheim. Especially now. Nevertheless, a caveat: Reverence is not always the best way to approach art. Sondheim's work is complex and lively and varied enough to invite many moods in. Adjectives that are or should be frequently thrown at his work -- multi-faceted, polyphonic, panoramic, prismatic -- all suggest a difficult plurality...
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Monday, November 29, 2021 at 1:11PM 
