“Sondheim is revered in musical circles and for those who love him and for those who have been underexposed to his talent, Putting it Together is great for both – as a twist for the fans and a solid introduction to what is best about his work for the others.”
Julia Newbould
4.5 Stars
Venue : Foundry Theatre Pyrmont
Dates : Until 15 February
A glamorous New York 50s style penthouse apartment, classy cocktail vibes, and a sublime cast – what a way to return to the theatre in 2026.
Director and choreographer Cameron Mitchell wanted to make the musical classy, and he’s succeeded brilliantly with Putting it Together, a celebration of American composer and lyricist Stephen Sondheim’s greatest work.
Tackling a Sondheim musical was something different for Mitchell, who had mainly worked on song and dance musicals. This was his chance to stretch his wings and focus more on sophisticated lyrics.
“In shaping this production, the aim has been to honour Sondheim’s extraordinary craftmanship while finding a fresh theatrical language that speaks to us here and now,” Mitchell said. He also wanted to bring together old school musical theatre with a touch of class for those who love Sondheim and those who don’t necessarily love the words; bringing young people into the theatre to experience the master’s work.
Nick Fry’s sophisticated white and silver set has utilised the full breadth of the Foundry Theatre stage, giving the musicians and actors almost equal space, and giving the musical a grandeur it deserves. Seeing the cast swan around each other on the stage in their formal wear with drinks in hand was deliberate staging by Mitchell. “I wanted everyone to think about what was going on. Are they all at the same party? “I also wanted to show the effect alcohol has on people – it brings out the truth and confidence and gets people to say and do things they wouldn’t do.”
The show is prefaced with a song of light banter from The Frogs with Bert LaBonté as the observer and sometime narrator instructing the audience in behaviour expected at the theatre, such as not opening sweets in cellophane or sighing at every song recognised – which was just as well as there would have been constant sighs throughout. It was enjoyable before it even started.
One of the detractions of musicals is the dated storylines. Putting it Together takes apart Sondheim musicals and rearranges them into a new story arc that is tied cleverly together with one-word explanations for what’s to come – such as invitation, consummation, and revenge.
It’s clever and mature, which are two epithets attributed to the composer himself.
Conceived in the 1990s by Sondheim and Julia McKenzie (who premiered in several Sondheim musicals before her TV career as Miss Marple), the set up is a review/revue looking back over Sondheim’s work and putting it together in a new form.
The Sydney cast of five comprised Caroline O’Connor as the wife, Michael Cormick as the husband, Stefanie Caccamo as the young woman, Nigel Huckle as the young man, and Bert Labonte bringing it all together.
“Casting is everything. Getting people who at their core love the work and are interested in delving into the work themselves and not just turning up and expecting it to be delivered to them is key,” Mitchell said.
LaBonté never disappoints and he’s brilliant from the moment he first takes to the stage, to each appearance as the narrator to the songs he sang. He brings Sondheim to life with natural humour and freshness.
Caroline O’Connor is Australia’s queen of musical theatre and seeing her inhabit her characters confirms why. She is a classic interpreter of the musical and Sondheim, and it was a treat to see her here. Stefanie Caccamo plays the younger version of Caroline’s character, and she is perfect as this generation’s O’Connor.
As the husband, Michael Cormick is a great match for O’Connor, and their duets are sensitive and snappy.
Nigel Huckle, who shone in the Hayes’ production of Holiday Inn, managed to convey some of the croon he perfected there into this role.
As he takes the stage, LaBonté introduces the musicians as Nick, Dick, and Kevin. This trio represents the full musical backing to the show. The arrangement is slick and clever. Dick is Richard Gleeson on percussion – mainly drums; Nick is Nicholas Till on piano 2, and Kevin Wang on piano 1 as well as co-arranger and musical director.
Putting it Together comprises numbers from Sondheim’s most loved musicals including Follies, Assassins, Company, Merrily We Roll Alone, Sunday in the Park with George, Dick Tracy, and Into the Woods.
Original contexts being changed, the songs now form the arc of either man and wife discontented with life or the young couple and their challenges with complementary numbers fitted around these – such as Everybody Ought to Have a Maid (from Funny Thing Happened on the Way to the Forum) and sung by O’Connor and LaBonté.
My favourites were Could I Leave You sung by O’Connor, Putting it Together, sung by the entire cast and Country House, which early in the musical showcases the sophistication of the lyrics and clever partnering of O’Connor and Cormick.
Sondheim is revered in musical circles and for those who love him and for those who have been underexposed to his talent, Putting it Together is great for both – as a twist for the fans and a solid introduction to what is best about his work for the others.
photos by Daniel Boud
Four and a half champagne flutes
Juia Newbould, Theatre Now
