Sondheim, the songwriter who reshaped the American musical theatre in the second half of the 20th century with his intelligent, intricately rhymed lyrics, his use of evocative melodies and his willingness to tackle unusual subjects, has died. He was 91.
SondheimBԪַs death was announced by Rick Miramontez, president of DKC/O&M. SondheimBԪַs Texas-based attorney, Rick Pappas, the composer died Friday at his home in Roxbury, Connecticut.
Sondheim influenced several generations of theatre songwriters, particularly with such landmark musicals as BԪַCompany,BԪַ BԪַFolliesBԪַ and BԪַSweeney Todd,BԪַ which are considered among his best work. His most famous ballad, BԪַSend in the Clowns,BԪַ has been recorded hundreds of times, including by Frank Sinatra and Judy Collins.
The artist refused to repeat himself, finding inspiration for his shows in such diverse subjects as an Ingmar Bergman movie (BԪַA Little Night MusicBԪַ), the opening of Japan to the West (BԪַPacific OverturesBԪַ), French painter Georges Seurat (BԪַSunday in the Park With GeorgeBԪַ), GrimmBԪַs fairy tales (BԪַInto the WoodsBԪַ) and even the killers of American presidents (BԪַAssassinsBԪַ), among others.
Tributes quickly flooded social media as performers and writers alike saluted a giant of the theatre. BԪַWe shall be singing your songs forever,BԪַ wrote Lea Salonga. Aaron Tveit wrote: BԪַWe are so lucky to have what youBԪַve given the world.BԪַ
BԪַThe theatre has lost one of its greatest geniuses and the world has lost one of its greatest and most original writers. Sadly, there is now a giant in the sky,BԪַ producer Cameron Mackintosh wrote in tribute. Music supervisor, arranger and orchestrator Alex Lacamoire tweeted: BԪַFor those of us who love new musical theatre: we live in a world that Sondheim built.BԪַ
Six of SondheimBԪַs musicals won Tony Awards for best score, and he also received a Pulitzer Prize (BԪַSunday in the ParkBԪַ), an Academy Award (for the song BԪַSooner or LaterBԪַ from the film BԪַDick TracyBԪַ), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement.
SondheimBԪַs music and lyrics gave his shows a dark, dramatic edge, whereas before him, the dominant tone of musicals was frothy and comic. He was sometimes criticized as a composer of unhummable songs, a badge that didnBԪַt bother Sondheim. Frank Sinatra, who had a hit with SondheimBԪַs BԪַSend in the Clowns,BԪַ once complained: BԪַHe could make me a lot happier if heBԪַd write more songs for saloon singers like me.BԪַ
To theatre fans, SondheimBԪַs sophistication and brilliance made him an icon. A Broadway theatre was named after him. A New York magazine cover asked BԪַIs Sondheim God?BԪַ The Guardian newspaper once offered this question: BԪַIs Stephen Sondheim the Shakespeare of musical theatre?BԪַ
A supreme wordsmith BԪַ and an avid player of word games BԪַ SondheimBԪַs joy of language shone through. BԪַThe opposite of left is right/The opposite of right is wrong/So anyone whoBԪַs left is wrong, right?BԪַ he wrote in BԪַAnyone Can Whistle.BԪַ In BԪַCompany,BԪַ he penned the lines: BԪַGood things get better/Bad gets worse/Wait BԪַ I think I meant that in reverse.BԪַ
He offered the three principles necessary for a songwriter in his first volume of collected lyrics BԪַ Content Dictates Form, Less Is More, and God Is in the Details. All these truisms, he wrote, were BԪַin the service of Clarity, without which nothing else matters.BԪַ Together they led to stunning lines like: BԪַItBԪַs a very short road from the pinch and the punch to the paunch and the pouch and the pension.BԪַ
Taught by no less a genius than Oscar Hammerstein, Sondheim pushed the musical into a darker, richer and more intellectual place. BԪַIf you think of a theatre lyric as a short story, as I do, then every line has the weight of a paragraph,BԪַ he wrote in his 2010 book, BԪַFinishing the Hat,BԪַ the first volume of his collection of lyrics and comments.
Early in his career, Sondheim wrote the lyrics for two shows considered to be classics of the American stage, BԪַWest Side StoryBԪַ (1957) and BԪַGypsyBԪַ (1959). BԪַWest Side Story,BԪַ with music by Leonard Bernstein, transplanted ShakespeareBԪַs BԪַRomeo and JulietBԪַ to the streets and gangs of modern-day New York. BԪַGypsy,BԪַ with music by Jule Styne, told the backstage story of the ultimate stage mother and the daughter who grew up to be Gypsy Rose Lee.
It was not until 1962 that Sondheim wrote both music and lyrics for a Broadway show, and it turned out to be a smash BԪַ the bawdy BԪַA Funny Thing Happened on the Way to the Forum,BԪַ starring Zero Mostel as a wily slave in ancient Rome yearning to be free.
Yet his next show, BԪַAnyone Can WhistleBԪַ (1964), flopped, running only nine performances but achieving cult status after its cast recording was released. SondheimBԪַs 1965 lyric collaboration with composer Richard Rodgers BԪַ BԪַDo I Hear a Waltz?BԪַ BԪַ also turned out to be problematic. The musical, based on the play BԪַThe Time of the Cuckoo,BԪַ ran for six months but was an unhappy experience for both men, who did not get along.
It was BԪַCompany,BԪַ which opened on Broadway in April 1970, that cemented SondheimBԪַs reputation. The episodic adventures of a bachelor (played by Dean Jones) with an inability to commit to a relationship was hailed as capturing the obsessive nature of striving, self-centered New Yorkers. The show, produced and directed by Hal Prince, won Sondheim his first Tony for best score. BԪַThe Ladies Who LunchBԪַ became a standard for Elaine Stritch.
The following year, Sondheim wrote the score for BԪַFollies,BԪַ a look at the shattered hopes and disappointed dreams of women who had appeared in lavish Ziegfeld-style revues. The music and lyrics paid homage to great composers of the past such as Jerome Kern, Cole Porter and the Gershwins.
In 1973, BԪַA Little Night Music,BԪַ starring Glynis Johns and Len Cariou, opened. Based on BergmanBԪַs BԪַSmiles of a Summer Night,BԪַ this rueful romance of middle-age lovers contains the song BԪַSend in the Clowns,BԪַ which gained popularity outside the show. A revival in 2009 starred Angela Lansbury and Catherine Zeta-Jones was nominated for a best revival Tony.
BԪַPacific Overtures,BԪַ with a book by John Weidman, followed in 1976. The musical, also produced and directed by Prince, was not a financial success, but it demonstrated SondheimBԪַs commitment to offbeat material, filtering its tale of the westernization of Japan through a hybrid American-Kabuki style.
In 1979, Sondheim and Prince collaborated on what many believe to be SondheimBԪַs masterpiece, the bloody yet often darkly funny BԪַSweeney Todd.BԪַ An ambitious work, it starred Cariou in the title role as a murderous barber whose customers end up in meat pies baked by ToddBԪַs willing accomplice, played by Angela Lansbury.
The Sondheim-Prince partnership collapsed two years later, after BԪַMerrily We Roll Along,BԪַ a musical that traced a friendship backward from its charactersBԪַ compromised middle age to their idealistic youth. The show, based on a play by George S. Kaufman and Moss Hart, only ran two weeks on Broadway. But again, as with BԪַAnyone Can Whistle,BԪַ its original cast recording helped BԪַMerrily We Roll AlongBԪַ to become a favorite among musical-theatre buffs.
BԪַSunday in the Park,BԪַ written with James Lapine, may be SondheimBԪַs most personal show. A tale of uncompromising artistic creation, it told the story of artist Georges Seurat, played by Mandy Patinkin. The painter submerges everything in his life, including his relationship with his model (Bernadette Peters), for his art.) It was most recently revived on Broadway in 2017 with Jake Gyllenhaal.)
Three years after BԪַSundayBԪַ debuted, Sondheim collaborated again with Lapine, this time on the fairy-tale musical BԪַInto the Woods.BԪַ The show starred Peters as a glamorous witch and dealt primarily with the turbulent relationships between parents and children, using such famous fairy-tale characters as Cinderella, Little Red Riding Hood and Rapunzel. It was most recently revived in the summer of 2012 in Central Park by The Public Theatre.
BԪַAssassinsBԪַ opened off-Broadway in 1991 and it looked at the men and women who wanted to kill presidents, from John Wilkes Booth to John Hinckley. The show received mostly negative reviews in its original incarnation, but many of those critics reversed themselves 13 years later when the show was done on Broadway and won a Tony for best musical revival.
BԪַPassionBԪַ was another severe look at obsession, this time a desperate woman, played by Donna Murphy, in love with a handsome soldier. Despite winning the best-musical Tony in 1994, the show barely managed a six-month run.
A new version of BԪַThe Frogs,BԪַ with additional songs by Sondheim and a revised book by Nathan Lane (who also starred in the production), played Lincoln Center during the summer of 2004. The show, based on the Aristophanes comedy, originally had been done 20 years earlier in the Yale University swimming pool.
One of his more troubled shows was BԪַRoad Show,BԪַ which reunited Sondheim and Weidman and spent years being worked on. This tale of the Mizner brothers, whose get-rich schemes in the early part of the 20th century finally made it to the Public theatre in 2008 after going through several different titles, directors and casts.
He had been working on a new musical with BԪַVenus in FurBԪַ playwright David Ives, who called his collaborator a genius. BԪַNot only are his musicals brilliant, but I canBԪַt think of another theatre person who has so chronicled a whole age so eloquently,BԪַ Ives said in 2013. BԪַHe is the spirit of the age in a certain way.BԪַ
Sondheim was born March 22, 1930, into a wealthy family, the only son of dress manufacturer Herbert Sondheim and Helen Fox Sondheim. At 10, his parents divorced and SondheimBԪַs mother bought a house in Doylestown, Pa., where one of their Bucks County neighbours was lyricist Oscar Hammerstein II, whose son, James, was SondheimBԪַs roommate at boarding school. It was Oscar Hammerstein who became the young manBԪַs professional mentor and a good friend.
He had a solitary childhood, one that involved verbal abuse from his chilly mother. He received a letter in his 40s from her telling him that she regretted giving birth to him. He continued to support her financially and to see her occasionally but didnBԪַt attend her funeral.
Sondheim attended Williams College in Massachusetts, where he majored in music. After graduation, he received a two-year fellowship to study with avant-garde composer Milton Babbitt.
One of SondheimBԪַs first jobs was writing scripts for the television show BԪַTopper,BԪַ which ran for two years (1953-1955). At the same time, Sondheim wrote his first musical, BԪַSaturday Night,BԪַ the story of a group of young people in Brooklyn in 1920s. It was to have opened on Broadway in 1955, but its producer died just as the musical was about to go into production, and the show was scrapped. BԪַSaturday NightBԪַ finally arrived in New York in 1997 in a small, off-Broadway production.
Sondheim wrote infrequently for the movies. He collaborated with actor Anthony Perkins on the script for the 1973 murder mystery BԪַThe Last of Sheila,BԪַ and besides his work on BԪַDick TracyBԪַ (1990), wrote scores for such movies as Alain ResnaisBԪַ BԪַStaviskyBԪַ (1974) and Warren BeattyBԪַs BԪַRedsBԪַ (1981).
Over the years, there have been many Broadway revivals of Sondheim shows, especially BԪַGypsy,BԪַ which had reincarnations starring Angela Lansbury (1974), Tyne Daly (1989) and Peters (2003). But there also were productions of BԪַA Funny Thing,BԪַ one with Phil Silvers in 1972 and another starring Nathan Lane in 1996; BԪַInto the WoodsBԪַ with Vanessa Williams in 2002; and even of SondheimBԪַs less successful shows such as BԪַAssassinsBԪַ and BԪַPacific Overtures,BԪַ both in 2004. BԪַSweeney ToddBԪַ has been produced in opera houses around the world. A reimagined BԪַWest Side StoryBԪַ opened on Broadway in 2020 and this year an off-Broadway BԪַAssassinsBԪַ opened off-Broadway at Classic Stage Company and a scrambled BԪַCompanyBԪַ opened on Broadway with the gender of the protagonist switched. A film version of BԪַWest Side StoryBԪַ is to open this December directed by Steven Spielberg.
SondheimBԪַs songs have been used extensively in revues, the best-known being BԪַSide by Side by SondheimBԪַ (1976) on Broadway and BԪַPutting It Together,BԪַ off-Broadway with Julie Andrews in 1992 and on Broadway with Carol Burnett in 1999. The New York Philharmonic put on a star-studded BԪַCompanyBԪַ in 2011 with Neil Patrick Harris and Stephen Colbert. Tunes from his musicals have lately popped up everywhere from BԪַMarriage StoryBԪַ to BԪַThe Morning Show.BԪַ
An HBO documentary directed by Lapine, BԪַSix by Sondheim,BԪַ aired in 2013 and revealed that he liked to compose lying down and sometimes enjoyed a cocktail to loosen up as he wrote. He even revealed that he really only fell in love after reaching 60, first with the dramatist Peter Jones and then in his last years with Jeff Romley.
BԪַEvery so often someone comes along that fundamentally shifts an entire art form. Stephen Sondheim was one of those. As millions mourn his passing I also want to express my gratitude for all he has given to me and so many more,BԪַ singer and actor Hugh Jackman wrote via Twitter.
Mark Kennedy, The Associated Press