Part of me wonders why I’m writing this – there’s nothing I can say that would feel adequate, or hasn’t already been expressed by people better placed and far more eloquent than I.

And yet, it feels right that I get this down and share it, so here goes…

On Friday 26th November 2021, Stephen Sondheim passed away at the age of 91. The legendary composer and lyricist changed the face of musical theatre forever, bringing us some of the most beloved works of the 20th century, including A Funny Thing Happened On The Way To The Forum, Follies, Into The Woods, Gypsy (lyrics) Sunday in The Park With George, Assassins, A Little Night Music, Company, West Side Story (lyrics), Sweeney Todd, and Merrily We Roll Along.

Though I’m not as well versed in all of his glorious catalogue as I’d wish – (for example, Assassins was composed the year I was born, and I am only familiar with two songs from Follies out of context) and was always learning and discovering, I make no secret of the fact that I consider him to be my favourite composer/lyricist in all of musical theatre. First, let’s not be remiss about the sheer joy and boundless ambition in the creativity – who else would have the gumption to write a musical inspired by a pointillist painting, those who successfully (or not) assassinated Presidents, or about a barber and Fleet Street landlady who deign to take their revenge on the hand they’ve been dealt in life by turning those they kill into meat pies? And if they tried – could they do it as well as Sondheim did? His work speaks to me on SO many levels – it makes me laugh, moves me to tears, surprises me, and always challenged me to think – sometimes all in the space of a mere few sentences. That was his gift, and the craft he perfected: choosing the perfect words. That alone was magical, but what often struck me so potently whenever I come into contact with any of those perfect words, is that so often they remind me of what it means to be human, and that’s so meaningful and powerful: to both see and feel like you can be seen in the stories he created.

I’ve always treasured that sense of connection his work gives me and how it makes me feel so viscerally and deeply, wether that’s through his storytelling, or the lyrics and melodies. Just yesterday, I was listening to the 2018 cast recording of Company and I found myself with a tear in my eye and a lump in my throat. One of sadness at his passing and the fact that the theatre world has lost such a integral part of its fabric, but I think there was pure joy in them too, that I haven’t forgotten how his music makes me feel and how strong those feelings are. And that got me to thinking, thanks to him and the immense raft of talent that has been brought into my life thanks to those who stage and perform his songs and works, I have had some of my most treasured theatrical experiences:

Seeing Sweeney Todd in 2012 at the Adelphi brought a performer into my life who has now been a part of it for nine years, in musicals as well as plays, and who I wouldn’t be without!

To continue the Sweeney theme: the 2015 production by Tooting Arts Club in Harrington’s Pie & Mash Shop was the most incredible production, dare I repeat I’m not sure I need to see Sweeney Todd in any way shape or form again it was that perfect! This production was also my introduction to site specific theatre which as a wheelchair user is often a no go due to lack of accessibility.

Also in 2015, I sat in the auditorium watching an absolute favourite performer of mine talk about his career, including Sunday in the Park with George, which he did in France, then he went on to sing Finishing The Hat. I wept and am so thankful he first brought the show into my world. Incidentally this guy also gives the best rendition of Maria I’ve ever heard…

I have a regional theatre that I love to visit when I’m able who I know for their Sondheim productions.

In 2018, Company was re-imagined with a female lead, featuring the incredible Rosalie Craig & a cast filled with both familiar & new faces to me. Being in much the same position as Bobbie – a single woman in her 30s constantly trying to balance her desire for a relationship with wether she actually needs or wants one struck so many chords! I also loved realising how open Sondheim was to trying new things when it came to his works thanks to this version, it made me so happy!

I could go on. I was listening to my favourite lyric from Sunday in the Park with George when I heard the news of his passing, and I was overwhelmed by how intensely I felt his loss. Just as quickly though, I thought to myself: “how lucky am I to have my life so greatly enriched by his phenomenal gifts. Long may that reflection and his legacy continue to bring me joy, always.

P.S. I wanted to do something special to celebrate Sondheim on my podcast, but feel I would do a poor job: just myself speaking into the ether! I’ve been really comforted by all the remembrances I’ve seen from the theatre community I love so much, so if anyone wants to spend some time virtually sharing our love for the maestro for said podcast, I’d love to work something out… do get in touch!