Who doesn’t adore Stephen Sondheim’s mastery of the Broadway musical, mentored to him by lyricist and playwright Oscar Hammerstein II? I am loathe to admit I am late to the Sondheim party, not being familiar with all of his musicals. However, the marvelous Old Friends revue, currently running at Manhattan Theatre Club’s Samuel J. Friedman Theatre is a superb opportunity for fans old and new to celebrate Stephen Sondheim’s genius and rediscover some of his greatest songs. But don’t wait too long to get down to the Friedman. Old Friends is in a limited engagement which ends June 15th unless it receives an extension.

Who better to give tribute to Sondheim’s genius than friends who starred in Sondheim’s productions? In the current revue these include some of the cast who were most recently in the Los Angeles production of Old Friends in its North American premiere (February 13 through March 9, 2025). They reprized their roles in the Broadway transfer in March which opened on April 8th. Additionally, Peters and Salonga reprized their roles from London’s West End where Stephen Sondheim’s Old Friends played in a limited engagement at the Gielgud Theater until January 6, 2024. The history of how this production evolved is fascinating. See below snippets from the West End production to get an idea of what you’ll be seeing on Broadway.

With their voices, power and humor Bernadette Peters and Lea Salonga are perfect celebrants of the Sondheim cannon. Cameron Mackintosh wasn’t the first to come up with a revue of Sondheim’s songs. That was Hal Prince’s “Side by Side by Sondheim” in 1976. Then Cameron Mackintosh convinced Stephen Sondheim an update of his music was needed and created “Putting It Together” in 1993. “Stephen Sondheim’s Old Friends” is the third revue and the first one in over 30 years in the US after its run in London. 

Following the typical format of revues Old Friends doesn’t stray too far, and for some, that will be a joy. However, what makes this production special is not the selection of songs (41), but who brings out new interpretations amidst a backdrop of various suggestive sets alluding to the shows, i.e. Sweeney Todd, West Side Story, Into the Woods, Sundays in the Park With George, Follies (thanks to Matt Kinley’s scenic design) and George Reeve’s projection design. Vitally, there is a segue into clips of “the man” himself and photographs which strike the heart and make one want to read everything that’s out there about Stephen Sondheim.

Jill Parker’s costume design is clever and thoughtful. For example she features Bernadette Peters in a red cape, ready to fend off Jacob Dickey’s wolf with perky ears, giving both performers the fuel to be humorous and endearing in “Hello LIttle Girl” from Into the Woods. Peters makes the most of her comedic funny bone when warranted. She is imminently watchable and mesmerizing. Though the production features Parker’s sleek and front slit gowns-a-glitter, silk jackets and tuxedos, whether show-inspired costumes or concert level TV variety show type costumes, they give off a sheen and a comfort level of old-fashioned nostalgic glamour that is soothing in these rough times heading for what many fear will be a tariff-created depression.

The production holds the emphasis on songs from “Sweeney Todd,” “Company,” “Follies” and “Into the Woods.” Actually ‘”Sweeney Todd” has the largest song selection and the most elaborate looking set design even down to the pies, oven, and barber’s chair where Sweeney slits a fellow’s throat. Stefan Musch’s wig, hair, and make-up design along with Parker’s costumes for Sweeney Todd are appropriately period grotesque making Jeremy Secomb a scary Sweeney and Lea Salonga a crazily macabre Mrs. Lovett. They do a bang up job albeit with a malevolent twist and accent on horror in “A Little Priest” that is less comical than I’ve seen performed in the latest revival in 2023, starring Josh Groban. However, considering the song is without the context, it works well by itself.

With direction and musical staging by Matthew Bourne the segues between songs run smoothly and the numbers in front of an elaborate show curtain with arches of light and lighted graduated steps when the curtain opens to see the 14-piece orchestra, provide the set for Bourne and choreographer Stephen Mear to stage the glamorous portion of the revue. With original orchestrations by Jonathan Tunick, Stephen Metcalfe’s musical arrangements soar with harmonic lyricism. Warren Letton’s lighting design and Mick Potter’s sound design are near perfect enhancing the overall technical aspect of the production.

Performing with song and dance in front of the curtain provides the time for set changes. Songs from Company, and Merrily We Roll Along are featured simply with the highlights on the performer. For example Peters and Salonga sing “Side by Side,” as the show opener with a quick segue to full stage as the curtain opens for “Comedy Tonight” by the two stars, Jason Peycooke, Gavin Lee and the Company wearing shimmering Roman-style drapes over gowns and tuxedos.

Particularly strong numbers involve the 17 cast members singing and dancing the songs “Company,” “Into the Woods,” “Comedy Tonight,” and of course “Sunday” from Sundays in the Park with George, whose scrim of the painting appears as the set piece to close Act I before the intermission. Seeing Georges Seurat’s painting is always a stunning visual effect.

Wonderful interpretations of “Send in the Clowns” by Peters,”Ladies Who Lunch,” by Beth Leavel, “I’m Still Here,” by Bonnie Langford (who does an amazing split to conclude the kick line number), and “Everything’s Coming Up Roses,” by Salonga prove the power of the music in the specific instrument and personality of the performer. “Being Alive,” then “Side by Side” as the finale are superb capstones to conclude the joyous and heartfelt evening that is a tribute to the greatness of Stephen Sondheim. Now I’m going online to order his biography by Meryle Secrest.

Old Friends runs at The Samuel J. Friedman, 2 hours and 45 minutes, including a 15-minute intermission. https://sondheimoldfriends.com/