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Jericho Rosales as Gael Nakpil". There are some things that embarrass me so much in the lyrics — the missed accents, the obvious jokes. Laurents told him he was working on a musical version of Romeo and Juliet with Leonard Bernstein, but they needed a lyricist; Betty Comden and Adolph Green, who were supposed to write the lyrics, were under contract in Hollywood.

He said that although he was not a big fan of Sondheim's music, he enjoyed the lyrics from Saturday Night and he could audition for Bernstein. The following day, Sondheim met and played for Bernstein, who said he would let him know. The composer wanted to write music and lyrics; after consulting with Hammerstein, Bernstein told Sondheim he could write music later. Sondheim has expressed dissatisfaction with his lyrics, saying that they do not always fit the characters and are sometimes too consciously poetic.

While Bernstein was working on Candide, Sondheim reportedly wrote some of West Side Story Sondheim insisted that Bernstein told the producers to list him as the sole lyricist. He described the division of the royalties, saying that Bernstein received three percent and he received one percent.

Bernstein suggested evening the percentage at two percent each, but Sondheim refused because he wanted the credit. Sondheim later said he wished "someone stuffed a handkerchief in my mouth because it would have been nice to get that extra percentage". After West Side Story opened, Shevelove lamented the lack of "low-brow comedy" on Broadway and mentioned a possible musical based on Plautus' Roman comedies. When Sondheim was interested in the idea he called a friend, Larry Gelbart, to co-write the script.

The show went through a number of drafts, and was interrupted briefly by Sondheim's next project. Although Sondheim wanted to write the music and lyrics, Merman refused to let another first-time composer write for her and demanded that Jule Styne write the music.

Sondheim, concerned that writing lyrics again would pigeonhole him as a lyricist, called his mentor for advice. Hammerstein told him he should take the job, because writing a vehicle for a star would be a good learning experience. Sondheim agreed; Gypsy opened on May 21, , and ran for performances.

He remembered that shortly before Hammerstein's death, Hammerstein had given him a portrait of himself.

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Sondheim asked him to inscribe it, and said later about the request that it was "weird The first musical for which Sondheim wrote the music and lyrics was A Funny Thing Happened on the Way to the Forum, which opened in and ran for performances. Sondheim's score was not well received; although the show won several Tony Awards including best musical , he did not receive a nomination.

Sondheim had participated in three straight hits, but his next show — 's Anyone Can Whistle — was a nine-performance failure although it introduced Angela Lansbury to musical theatre. A new lyricist was needed, and Laurents and Rodgers' daughter, Mary, asked Sondheim to fill in. Although Richard Rodgers and Sondheim agreed that the original play did not lend itself to musicalization, they began writing the musical version. He asked author and playwright James Goldman to join him as bookwriter for a new musical.

According to Sondheim and director Paul Bogart, the musical was written only because Goldman needed money for rent.

Leonard Bernstein had not written for the stage in some time, and his contract as conductor of the New York Philharmonic was ending. Sondheim was invited to Robbins' house in the hope that Guare would convince him to write the lyrics for a musical version of The Exception and the Rule; according to Robbins, Bernstein would not work without Sondheim.

Guare said that working with Sondheim was like being with an old college roommate, and he depended on him to "decode and decipher their crazy way of working"; Bernstein worked only after midnight, and Robbins only in the early morning. Bernstein's score, which was supposed to be light, was influenced by his need to make a musical statement. An opening night was scheduled, but during auditions Robbins asked to be excused for a moment. When he did not return, a doorman said he had gotten into a limousine to go to John F.

Bernstein burst into tears and said, "It's over"; Sondheim said, "I was ashamed of the whole project. It was arch and didactic in the worst way.

Ten years later, while he was playing music he heard a knock on the door. His neighbor, Katharine Hepburn, was in "bare feet — this angry, red-faced lady" and told him "You have been keeping me awake all night! When Sondheim asked why she had not asked him to play for her, she said she lost his phone number. According to Sondheim, "My guess is that she wanted to stand there in her bare feet, suffering for her art".

After finishing Do I Hear a Waltz, Sondheim devoted himself to composing and writing lyrics for a variety of musicals. He collaborated with producer-director Hal Prince on six musicals from to , beginning with the concept musical Company.

Without a straightforward plot, Company with a book by George Furth centered on a set of characters and themes. It opened on April 26, at the Alvin Theatre, where it ran for performances after seven previews, and won Tony Awards for best musical, best music and best lyrics.

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Follies , with a book by James Goldman, opened on April 4, at the Winter Garden Theatre and ran for performances after 12 previews. The plot centers on a reunion, in a crumbling Broadway theatre scheduled for demolition, of performers in Weismann's Follies a musical revue, based on the Ziegfeld Follies, which played in that theatre between the world wars.

A Little Night Music , with a more traditional plot based on Ingmar Bergman's Smiles of a Summer Night and a score primarily in waltz time, was one of the composer's greatest successes. Time magazine called it "Sondheim's most brilliant accomplishment to date".

A Little Night Music opened on Broadway at the Shubert Theatre on February 25, and closed on August 3, , after performances and 12 previews. It moved to the Majestic Theatre on September 17, , where it finished its run.

By Bernstein premiered at the off-Broadway Westside Theatre on November 23, and closed on December 7, running for 40 previews and 17 performances. Its lyrics and music were by Leonard Bernstein, with additional lyrics by others including Sondheim. Pacific Overtures , with a book by John Weidman, was the most non-traditional of the Sondheim-Prince collaborations.

The show explored the westernization of Japan and was originally presented in Kabuki style, and was revived on Broadway in Sweeney Todd: The Demon Barber of Fleet Street , Sondheim's most operatic score and libretto which, with Pacific Overtures and A Little Night Music, has been produced in opera houses , explores an unlikely topic: murderous revenge and cannibalism. The book, by Hugh Wheeler, is based on Christopher Bond's stage version of the Victorian original. The show has since been revived on Broadway twice , , and has been performed in musical theaters and opera houses alike.

It currently runs off-Broadway at the Barrow Street Theatre. According to Sondheim's music director, Paul Gemignani, "Part of Steve's ability is this extraordinary versatility. Martin Gottfried wrote, "Sondheim had set out to write traditional songs But [despite] that there is nothing ordinary about the music.

What did surprise me was the feeling around the Broadway community — if you can call it that, though I guess I will for lack of a better word — that they wanted Hal and me to fail. However, Sondheim decided "that there are better places to start a show" and found a new collaborator in James Lapine after he saw Lapine's Twelve Dreams off-Broadway in "I was discouraged, and I don't know what would have happened if I hadn't discovered Twelve Dreams at the Public Theatre"; Lapine has a taste "for the avant-garde and for visually-oriented theatre in particular".

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Their first collaboration was Sunday in the Park with George , with Sondheim's music evoking Georges Seurat's pointillism.

Sondheim and Lapine won the Pulitzer Prize for Drama for the play, and it was revived on Broadway in , and again in a limited run in They collaborated on Into the Woods , a musical based on several Brothers Grimm fairy tales.

Although Sondheim has been called the first composer to bring rap music to Broadway with the Witch in the opening number of "Into the Woods" , he attributes the first rap in theatre to Meredith Willson's "Rock Island" from The Music Man. With a run of performances, Passion was the shortest-running show to win a Tony Award for Best Musical. Assassins opened off-Broadway at Playwrights Horizons on December 18, , with music and lyrics by Sondheim and its book by John Weidman.

The musical closed on February 16, , after 73 performances. Its idea derived from Sondheim's days as a panelist at producer Stuart Ostrow's Musical Theater Lab, when he read a script by playwright Charles Gilbert. He asked Gilbert for permission to use his idea; although Gilbert offered to write the book, Sondheim had Weidman in mind. Saturday Night was shelved until its production at London's Bridewell Theatre. The following year, its score was recorded; a revised version, with two new songs, ran off-Broadway at Second Stage Theatre in and at London's Jermyn Street Theatre in Although after poor reviews Bounce never reached Broadway, a revised version opened off-Broadway as Road Show at the Public Theater on October 28, People expect more of you and you're aware of it and you shouldn't be.

A revised version, Sondheim on Sondheim, was produced at Studio 54 by the Roundabout Theatre Company; previews began on March 19, , and it ran from April 22 to June Directed by John Doyle, it closed on December 28, Asked about writing new work, Sondheim replied in "No It's a diminution of energy and the worry that there are no new ideas.

Directed by John Doyle with choreography by Parker Esse, it consisted of "more than two dozen Sondheim compositions, each piece newly re-imagined by Marsalis". In Playbill, Steven Suskin described the concert as "neither a new musical, a revival, nor a standard songbook revue; it is, rather, a staged-and-sung chamber jazz rendition of a string of songs Half of the songs come from Company and Follies; most of the other Sondheim musicals are represented, including the lesser-known Passion and Road Show".

Sondheim described the project as "two people and what goes into their relationship We'll write for a couple of months, then have a workshop. I have a feeling it may not be experimental and fresh any more". As of August , no dates regarding the musical had been announced. The Cleveland Jewish News reported on their Oberlin appearance: "Sondheim said: 'Movies are photographs; the stage is larger than life.

What works now, he said, are musicals that are easy to take; audiences don't want to be challenged". Sondheim had another "conversation with" Sean Patrick Flahaven associate editor of The Sondheim Review at the Kravis Center in West Palm Beach on February 4, , in which he discussed many of his songs and shows: "On the perennial struggles of Broadway: 'I don't see any solution for Broadway's problems except subsidized theatre, as in most civilized countries of the world.

During that final moment, Sondheim and I were standing, facing the choir of students from the University of Utah's opera program, our backs to the audience, and I could see tears welling in his eyes as the voices rang out. Then, all of a sudden, he raised his arms and began conducting, urging the student singers to go full out, which they did, the crescendo building, their eyes locked with his, until the final "on an ordinary Sunday" was sung.No Reservations on 2nd Avenue August Satisfaction season 1 on 2nd Avenue September Sondheim met Hal Prince, who would direct many of his shows, at the opening of South Pacific, Hammerstein's musical with Richard Rodgers.

March 9, Henry Edwards,David E.

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