Previous Sondheim-Weidman shows (“Assassins” and “Pacific Overtures”) always felt like thesis statements, rather than narratives.
Timely, ill-timed, or timeless with its real estate boom and bust sequence?
Scattered: episodic structure, songs that mostly comment on the action, and few dialogue songs – Might have worked better with that dark vaudevillian tone in “Assassins” or the ironic thrust of the Loveland sequence in “Follies.”
From the man who can write “imperturbable perspicacity” into a song, the show left me wanting for those Sondheim wordplays. In addition to listening to his discography (marveling at “A Little Night Music” more than the others at the moment), getting to know the cruciverbalist in him and trying my hand at solving Sondheim’s old crosswords from New York Magazine.
Stephen Sondheim's Crossword Puzzles: The First One
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