Classic Moments:Hidden Treasures – Jermyn Street Theatre, London
Music/Lyrics: Stephen Sondheim
Director: Tim McArthur
Reviewer: Ann Bawtree
The Public Reviews Rating: 
Billed as “a cabaret celebration of some of the lesser known works of Stephen Sondheim” that is exactly what this show is. A few songs into the programme it is easy to see why most of them, whilst brilliant, are “lesser known”.
Besides being unfashionably tuneful with meaningful words which need careful articulation, many of them have lyrics which are rather obscure in isolation from the shows from which they come, such as “Everybody Loves Louis” from ‘Sunday in the Park with George’.Some, like “Can That Boy Foxtrot” sung by the elegant Valerie Cutko with her air of hauteur and her ballerina arms, contain words which would never be allowed on the BBC. Many require a high standard of acting skill as in “Could I Leave You” sung by Tim McArthur, who also directs the show, along with the duet with Jon-Paul Hevey, “Everybody Wants a Maid”, a piece requiring the quick fire timing they both deliver.
Others have lyrics which are very difficult to sing, as in the tour de force of “The Boy From” expertly performed by Laura Armstrong and is especially witty and charming as the alternative Cinderella in “On the Steps of the Palace”. There are many numbers sung by all four singers, the three above and Lucy Johnson. In these her sweet voice is maybe as not quite as strong as those of the others but she more than makes up for it in the delivery of her solo numbers. . It can also be truly said that the audience heard every word from each singer…Of course all of them have the good luck of being accompanied by David Harvey who plays the on-stage piano, keeping almost out of view except when needed as either conductor or stage prop as in “Sooner or Later”.
The Jermyn Street Theatre is just the right venue for this kind of show. It has indeed become what the visionary Howard Jameson intended, a smart but cosy studio in the West End providing a worthy venue for talented newcomers. It keeps its costs down by being run almost completely by volunteers who are not above doing a spot of cleaning or bar tending as well as taking the big decisions necessary for any kind of successful operation.
The front row of the audience practically rest their feet on the stage but this is part of the pleasure and gives them ample opportunity to admire the careful lighting planning of Howard Hudson. With no curtain to fall entrances and exits often have to occur in darkness. They can also appreciate the details of Fi Russell’s set design, deceptively simple with hanging picture frames above reminding us that, while Tim McArthur has woven the songs into a whole they are individual items. All is brought together by the first and last appearance of the cast though an enormous gilt frame appearing as a family group. Fi is also responsible for the pretty 1950s red and white dresses of Lucy and Laura and that slinky number worn by Valerie.
Altogether a most enjoyable evening in pleasant surroundings which, despite the expertise involved, managed to give the impression of a jolly evening at home with some pretty talented relatives.
Photo: Derek Drescher – Runs until 24th July
Classic Moments:Hidden Treasures - Jermyn Street Theatre, London,Tags: Cabaret, David Harvey, Fringe, Jermyn Street Theatre, Jon-Paul Hevey, Laura Armstrong, London, Lucy Johnson, Producer Derek Drescher, Stephen Sondheim, Studio, Tim McArthur, Valerie Cutko
11:14 am on July 19th, 2010
I disagree! This was a perfect demonstration on how NOT to stage a Sondheim revue: a random collection of songs selected and ordered with zero consideration, and performed with zero panache. How songs from Into the Woods and Forum can make it into a celebration of ‘lesser known’ Sondheim is baffling to say the least. Some decisions were embarrassing and crass: medleying two songs just because their titles both start with the word ‘everybody’? Please. Turning a song about obsession leading to attempted assassination and involvement with Charles Manson into an annoyingly simpering high-school love song was ludicrous – “let’s call them Jodie and Charlie – that’ll make the lyric work!”. Performances were weak and showed total lack of understanding how to perform Sondheim: gurning and stage-school over-enunciation is not the answer. And accompanying it with dated clichéd attempts at choreography had me cringing. My one positive: the pianist was good. Jermyn Street is a brilliant little theatre and has staged some near-perfect Sondheim – this was a misguided and sorry little blip, a ‘treasure’ which deserves to be instantly buried.