This is where the vibrant ambience of the National Theatre rehearsal room takes off. At this point, the company is fully immersed in Stephen Sondheim’s final musical, diving into the complexities of the first act. But regardless of the talent level, it’s crucial to hit your cues in a show that’s as intricate as it is demanding.
Jane Krakowski attempts to enhance the entrance while keeping it lively. Martha Plimpton raises a glass moments later, and castmates playfully disrupt with silly sounds. Jesse Tyler Ferguson is adamant that he’s not the one messing up. “Just do it like Rory,” Director Joe Mantello advises, prompting a fiery response from Rory Kinnear: “It’s just a General Note.”
When it starts snowing in the room, you just accept it — it’s magic.
Sondheim’s compositions are tough to tackle. Ferguson, known for his role as Mitchell on Modern Family, referred to the New York premiere as a kind of “hypnosis.” “I realized they spent a lot of time just figuring out how to articulate these things, it’s quite challenging,” he notes. Merging the intricate rhythmic patterns with the ever-changing choreography is something like rubbing your belly while patting your head.
Good news: just three weeks in, things are already looking engaging. Dennis O’Hare, along with Tracy Bennett from the original cast, is hitting his marks. Even with 129 performances under his belt, he finds fresh humor in the director’s new portrayal of the waiter, who appears quite desperate. In the background, a chef is laid out on a trolley, artistically arranged.
When the Off-Broadway production opened in October 2023, it was the most sought-after ticket in the city, reminiscent of the Tony-winning hit from 2004. The collaboration among Sondheim, Mantello, and writer David Ives took seven years to develop before Sondheim’s passing at 91. Ferguson and Krakowski recall how the audience displayed a mix of admiration and envy towards the performers, so being asked to join for the London debut felt like a dream. “Plus, it’s at the National Theatre. As an American, this is like a big deal,” she adds, quite excitedly.
The show serves as a satirical mix drawing from the quirky charm of Buñuel’s surrealist films depicting wealthy friends who encounter absurd mishaps while heading for brunch. “I took my cue from Buñuel. The only explanation is that there is no explanation,” Mantello explains. When it snows in the room, there’s no need for rationale — it’s just magical.
The characters represent the excesses of late capitalism, from an unethical industrialist to a kindly ambassador and a celebrity plastic surgeon, yet their friendships feel genuine. “You cast actors who genuinely captivate,” Mantello notes. “The show thrives on these striking faces that enter the stage, even if patience isn’t their strong suit.”
Interestingly, the music is known for abruptly fading in the second half before the show wraps up. “Sondheim drives people a bit crazy in fascinating ways,” says Ives. “And social media is buzzing about whether this production should continue. Should we consider it like Mozart’s Requiem, where Süssmayr filled in some gaps? Some think Alban Berg’s Lulu shouldn’t continue since he didn’t finish the third act.
To present such a technically demanding show, Ives commends Mantello’s vision, calling him a “compositional genius.” It reminds him of artistic analysis of classic paintings. “The last time I felt this anxious before opening night was on Venus in Fur, which was inspired by quite provocative material. Joe and I were unsure how audiences would react,” he reflects.
Instead of launching on Broadway, the production was staged at Shed, a 1,200-seat cultural venue in Hudson Yard. “I aimed to locate a space that matched the show’s unique tone,” Ives shares. The New York Times expressed uncertainty about the play’s readiness, but it was ultimately described as a “worthy, affectionate farewell” that evolved beautifully after its launch and felt “cool and chic.”
“People are realizing we’re not here to deliver a dogma or criticize Sondheim,” Ives explains. “Our job is to showcase what he accomplished. And, well, it speaks for itself!”
Krakowski recalls her early encounter with Sondheim, meeting him at just 14. His precision in his critiques left a lasting impression: “You didn’t need to ask him for further clarification.” Growing up in a musical theatre-loving family, her first Broadway revival at just 24 had her feeling the weight of the responsibility of the ALTO line. “And now,” Krakowski says at 56, “29…”
Ferguson, who hails from New Mexico, recounts watching the Tony Awards and scouring for rare Sweeney Todd videos. He recalls a moment when he longed for a role he believed was meant for him. “I just wasn’t ready,” he remembers, shaking his head at Krakowski’s words, “Just let it go, Jesse.”
Ferguson met Sondheim behind the scenes after a memorable show featuring Lynn Manuel Miranda and Sutton Foster. “At this stage of my career, I’ve encountered many notable individuals, but none compared to him — someone who influenced my youth so profoundly.” He looked a bit sheepish as he recalled saying just two words to Sondheim: “good work.”
The pain of losing the composer was palpable during the New York run. “It deeply moved me; I could literally hear the music halting,” Krakowski reflects. Mantello adds that David Hyde Pierce did something quite subtle — a moment that felt like transporting him to another realm.
Mantello’s remarkable staging (such as a dining set that descends from the ceiling) is being mirrored for the NT’s new venue. The cast is also unearthing fresh humor, like Plimpton infusing extra flair into her role. “She brought that energy, which is enriching,” Mantello remarks. Additionally, the show’s prevailing themes about impending doom resonate even more now.
“We find ourselves in a different political climate,” Ferguson notes. “A lot of these fears are real for many and make the humor feel layered. A joke about Teslas has a completely new context now.”
Let’s discuss Thomas Ostermeyer’s recent production at the Segal, which examined the relevance of theatre in light of the Book of Revelation. “As a closeted boy in Albuquerque, I turned to art for healing and purpose,” Ferguson shares. “Now, as a father of two, I strive to ensure they experience the arts in today’s complex world.”
Mantello expresses excitement about bringing the show to the UK, believing British audiences are more inclined to engage thoughtfully and later discuss the performance. “I may be generalizing here, but in the UK, plays spark conversation afterward, which, depending on where you are in America, isn’t always the case,” he shares.
How long until this show becomes part of the Sondheim repertoire? “It’s already part of it now,” Ives notes. “Think of how many of Sondheim’s works weren’t initially embraced. People often claim, ‘It didn’t earn anything,’ referring to classics that initially had a short run. It takes a while for people to appreciate it,” Mantello adds. “And here we are.”
