Sadly, Stephen Sondheim is no longer with us, but his body of work lives on. If anything, the prolific, groundbreaking American lyricist and composer – often credited with reinventing the 20th century musical – is enjoying a resurgence of interest since his death in 2021 at age 91. I was excited to see an excellent production of his early “flop” Merrily We Roll Along at Delray Beach Playhouse two years ago, mere months before the Broadway version won a Tony for Best Revival of a Musical. And swore if any more Sondheim came to our area (I was especially interested in his inaugural revue of Side by Side by Sondheim), I’d make it my business to attend.
So, I’m thrilled to report that ACM Theatricals, who produces the Pompano Players at the Pompano Beach Cultural Center, is presenting a special South Florida edition of SIDE BY SIDE BY SONDHEIM, running through May 17.
Why “South Florida edition”? Because lately I can’t help noticing that no matter how carefully our theater companies adhere to established scripts, actors and directors tend to add a personal “twist” that highlights their unique talents and sensibility. Maybe all regional theater companies do the same but, as a Florida resident and regular theater attendee, I get an extra kick out of watching my favorite actors and creative teams surpass what’s generally expected by thinking outside the box when faced with new material and production challenges.
Side by Side by Sondheim’s continuity alone (conceived by Ned Sherrin) is full of challenges as it’s packed with about two dozen songs and vignettes from some dozen Sondheim musicals from the 1950s through the ‘70s – all with lyrics by Sondheim but a few also featuring music by Leonard Bernstein, Mary Rodgers, Richard Rodgers, and Julie Styne. There are often mad dashes from one scene to the next, and even the musical sources don’t follow any order (though they tend to adhere to themes) but might return at various times throughout the two acts.
A single piano player, seated center stage, is constantly employed and occasionally included (or should I say gently harassed) by the three singers. There’s also a Narrator to introduce the numbers and provide some background. But he, too, is often corralled by the singers or weaves himself into the action, employing great comedic timing for his extracurricular roles. Meanwhile, all four actors don’t confine themselves to the stage but can also be found interacting with the audience.
Keeping all this organized chaos moving smooth as clockwork is notable Florida-based director Joseph Zettlemeier. The award-winning director and playwright has multiple national theatrical and film credits to his name and currently teaches at Florida International University.
Perhaps this show – which made it (with critical acclaim) to Broadway but began life as a simple-staged, off-Broadway revue – now returns to its ideal roots at Pompano Beach Cultural Center’s theatre venue with their intimate rows of cabaret-style, round table seating in front of the stage. Just made for actor/audience interaction – and there’s plenty of it. If you don’t particularly want to be included in the show, there are also rows of stadium-height seating beyond the tables for perfect views, or even a close-up encounter with an actor in the aisle (but don’t worry, they won’t sit next to you like they might, for a second, at a table up front).
Music director, and the extremely talented pianist who won’t let anything or any silly actor get in the way of his perfect musical accompaniment, is “Sunrise born and raised” Elijah Gee. In addition to serving as music director for the Pompano Players, Gee can be found performing all types of music styles and genres throughout our area and internationally.
My new favorite comedy actor is Quinn Doyle who plays the Narrator, perched at the side to introduce and explain and offer insights into a Sondheim show’s early development. But he’s also utilized as a “love interest” by the two ladies, gets to recite a high-speed Gilbert & Sullivan-style monologue, and never stays seated for long as he serves as an accessory to much of the action. But even when confined to his corner, his extreme, and extremely, funny facial expressions make for a non-stop comedy show of its own. I recently saw Quinn play Dwight in The Office: A Musical Parody! and Man 2 in First Date, both roles he nailed completely, and now puts his special dynamic stamp on the Narrator part.
Gaby Tortoledo describes herself as a critically acclaimed Venezuelan actor and singer, true, but she’s also very much an active local who I still remember from her outstanding role in Theatre Lab’s Refuge for which she won a Silver Palm Award. She’s often seen regionally in Miami (where I’m often not seen due to the drive distance) so was delighted to reacquaint myself with the talented actor/singer here in her nonstop, exuberant female roles as Woman #2.
Rounding out the local actor list (though he describes himself as a resident of “West Palm in the winter, New York in the summer”) is Ron DeStefano, who joined the Pompano Players’ World Goes Round last season as Man 1, but is best known locally for his internationally acclaimed touring productions. In this show, he has the distinction of being simply “Man.” A major role as he’s the sole singing/acting male figure to perform in most of the musical numbers calling for a guy to sing against one of the two females leads. Which means you’ll find Ron onstage most of the time, but also suddenly spotlighted high up in the aisle while singing and strolling downstairs to lively numbers from Anyone Can Whistle.
Last but hardly least in the four-member cast is newcomer to Pompano Players (and our neck of the woods), NYC-based Kristin DeGroot as Woman #1. Owner of Little Princess Parties, an upscale character entertainment company, Kristin also holds numerous off-Broadway credits. After you enjoy her beautiful vocals and watch her in action, you’ll agree she was well-worth importing for this production and, hopefully, many more to come.
The show opens with each of the four actors appearing rather gingerly onstage. They look around suspiciously, then meet up with another actor and suddenly greet them with a big hug before settling into place. This type of tension followed by warmth foreshadows most of the themes that run through Sondheim’s oeuvre where love often appears for show, rather than a deeply held commitment, and snide remarks about marriage, friends and relationships abound. Yet despite it all, his upper middle class, socially connected New Yorkers embrace their delusions to survive … or lucidly break up, if only for one optimistic moment.
But that spell is quickly broken with the balm of laughter in opening number, “Comedy Tonight.” As introduced by our Narrator, this song is paired with the former, discarded opening to A Funny Thing Happened on the Way to the Forum of “Love is in the Air.” We can see why “Comedy Tonight” was chosen to set the tone for that musical and went on to become an iconic Sondheim song. There are plenty more such hits in this show … but also a rare line-up of unused or quickly forgotten numbers that we never would have heard otherwise, making their inclusion in the revue all the more precious.
Speaking of “precious,” next up are our two leading ladies, acting as children, wishing for a better life “If Momma Was Married” from Gypsy. Our Man Ron follows with striking vocals, ridiculously insisting to his sarcastic ex-mistress: “You Must Meet My Wife” from Gypsy. Then we’re treated to two famous Company numbers with more to come. After all, the musical revue is named after Company’s popular “Side by Side by Side” number, which also closes the show. But long before the final curtain, we get to revel in clueless groom Ron’s “Today is for Amy” alongside his white-veiled bride Kristin’s lightning-fast emotional response of “(I’m Not) Getting Married Today.”
Giving us a chance to catch our breath, Ron’s impressive ballad rendition of “I Remember” from Evening Primrose comes next. If you don’t remember, you’re not alone. Not a single hand went up when the Narrator asked if anyone remembered seeing the single 1966 airdate of this staged-for-TV ABC musical. But we are bound to remember the number now. And will later get to enjoy Ron in a straw boater hat, performing the more popular, vaudeville-inspired Follies number, snazzy, frenetic, “Buddy’s Blues.”
We learn how Sondheim, as a cocky playwright of 15, first came to meet his hero Oscar Hammerstein, who would go on to become his lifelong mentor, supporter, and friend. We are treated to two more famous Company numbers: “Another Hundred People” and “Barcelona.” Lullingly beautiful but still harboring that Sondheim zinger in the end.
