By Jason and Alisha Hagey
Pioneer Theatre Company’s production of Putting It Together is an absolute delight. Devised by Stephen Sondheim and Julia McKenzie, Putting It Together is a musical revue with Sondheim’s words and music from several of his productions: Into the Woods, A Little Night Music, Merrily We Roll Along, Sunday in the Park with George, Company, and even The Frogs (among others). Each song is a gem often put into a new context, thus giving them new life. Putting It Together showcases Sondheim’s rare talent for emotional depth, zany rhythms, and incredible rhymes. With five very talented actors, excellent direction, phenomenal design, and Sondheim’s genius – this is a production worth experiencing.
Stephen Sondheim is often credited with saving the American stage musical. His works, commercially successful or not, were always innovative, fresh, and willing to tackle subjects not previously seen in musical theatre. Like Shakespeare, Sondheim had a way of expressing the human soul in both timeless and profound ways. Outside of productions of Into the Woods and Sweeney Todd: The Demon Barber of Fleet Street, Sondheim is not often done in Utah. This is a rare opportunity for live performances of some of his best work.
The revue is an American, time-honored tradition going back to the days of vaudeville at the turn of the twentieth century. Revues are the “hamburger and fries” of theatre – they can be seen all over the country, and there are theaters that make their entire living from doing them. We love them! If you have never been to a revue, revues are several songs from other source material strung together by the slightest of plots or a thin thread of ideas. Putting It Together is no different in structure, but the production team is one of the best Pioneer Theatre Company has ever had mount a show. The creative team putting this show together is like having hamburgers and fries cooked for us by Michelin-starred chefs. The production value is seriously next level.
An acclaimed director and choreographer from New York City, Gerry McIntyre’s direction is superb. He intricately weaves the vignettes together into a cohesive whole, allowing the actors to shine. While our characters are very aware of putting on a show for us, McIntyre helps them suck us into their lives and emotions and feel the reality of which they sing. The movement on stage can be subtle and other times, overt and significant – either way, McIntyre’s choreography is expressive and brings clarity to the narrative moments.
Yoon Bae (Scenic and Costume Design) creates a versatile world and remarkable costuming. The set allows for multiple performance levels, requiring little change to give a sense of different spaces. Bae’s scenic design is also artistic, enticing, and layered with visual interest. Her costumes are expressive, capturing the essence of each character. This is best represented in the song “Back to Business” after intermission. The men’s tuxedos and the women’s gowns are sparkling but explicitly tailored to the archetypes they represent. Of note is the men’s neckwear. The Husband wears an ascot, the Young Associate wears a necktie, and the Observer wears a bowtie. Each captures the character’s unique aspect perfectly. It is a small detail, but Bae’s attention to detail is transcendent.
Lighting is always an essential part of any production, but Putting It Together is a show that demands a lot of its lighting design. Herrick Goldman (Lighting Designer) is magnificent. He has a rare understanding of movement, and as actors flow across the stage, his lightning is as much a part of that action as the characters. Goldman has lighting throughout the stage, not just overhead or in spots. He creates moods and moments with flourish while making it look easy. Goldman is an extraordinary talent.
There is excitement when entering a theatre and taking in the moment as the sound of the musicians warming up envelopes the listener. The traditional pit orchestra is rarer and rarer. Listening to Phil Reno, Cullen Curth, Denson Angulo, Justin Lord, Dave Hall, Justin Torres, Luke Pfeil, and Reed Lecheminant (Orchestra) is a real treat. Reno leads his group brilliantly. I especially love Torres when he plays the oboe.
Our narrator through the journey is the superb Tyrick Wiltez Jones (The Observer). Jones is funny, clear, and a delight. He glows in “Buddy’s Blues” (Follies). His over-the-top character portrayals, mixed with Fosse-esque choreography, and highlighted by Goldman’s phenomenal lighting, really steal the show.
Cayleigh Capaldi (His Date) is bound to be the next Broadway diva. She has a tone that is smooth and rich. McIntyre was brutal in his direction for “Lovely” (A Funny Thing Happened on the Way to the Forum). Capaldi sings the entire song while exercising and holding yoga poses like an inverted side plank. It’s bananas. It’s bananas, and it’s terrific. This achievement, however, is eclipsed by her glorious “More” (Dick Tracy), where she gives us a powerhouse performance.
“Getting Married Today” (Company) is always a crowd-pleaser. Judy McLane (The Wife) is fantastic with it. She takes the patter song and weaves in so much irony, all while enunciating with seeming ease. From the same show (Company) is an iconic song, “The Ladies Who Lunch.” This song is so iconic it is the signature of none other than Patti LuPone. McLane makes it her own. This is the talent of McLane: everything she does on stage is hers. She owns it.
Nicholas Rodriguez (The Husband) brings sophistication to his role; his musical coloring is decadent, and his sense of melody is sublime. Playing opposite McLane, Rodriguez is her equal. He has a commanding presence on stage and prevails with sheer charm. Two of his best numbers from the show are “The Road You Didn’t Take” (Follies) and “Good Thing Going” (Merrily We Roll Along).
Our hearts melt when Brent Thiessen (A Young Associate) sings “Marry Me a Little” (Company). Sondheim’s Assassins has an unusual premise, portraying a group of real people who attempted (some successful and others not) to assassinate Presidents of the United States. Thiessen’s pathos takes the song “Unworthy of Your Love” from Assassins and makes the ballad beautiful, even moving. It outshines its source material. As part of the ensemble, Thiessen complements his fellow exceptional performers. When performing solo, Thiessen radiates.
Such is the creative team that puts together, Putting It Together. Individually, these artists are impressive. Together, they surpass the sum of their parts. Among revues, this performance is anomalous in quality and just as much fun as you would expect from one of the most brilliant minds of Broadway musical theatre. Perfect for a date night, Putting It Together will give you something to enjoy and talk about by night’s end.
Runtime: 1 hour 50 minutes, including a 15-minute intermission
Pioneer Theatre Company presents Putting It Together by Stephen Sondheim & Julia McKenzie
Simmons Pioneer Memorial Theatre, 300 S 1400 E, Salt Lake City, UT, 84112
March 3 – March 18, 2023, Monday – Thursday 7:00 PM, Friday 7:30 PM, Saturday 2:00 PM and 7:30 PM
Tickets : $48-72 in advance;, $5 more when purchased on the day of show.
Students K-12 are half-price Monday-Thursday.
Box Office: 801-581-6961
Open 10:00 AM – 6:00 PM, Mon. – Fri.
https://pioneertheatre.org/season/2022-2023-season/putting-it-together/
https://www.facebook.com/pioneertheatre/
ASL-Interpreted Performance: Saturday, March 18 at 2 PM
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