Review: The Rep's Side by Side by Sondheim Stumbles Along

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Phillip Hamer Photography

Not every show, even at the Rep, comes out smoothly.

The Repertory Theatre St. Louis is a local institution recognized for long-standing excellence. Unfortunately, not every opening of every show is as smooth or error free as the company and audiences would like. Such was the case with Side by Side by Sondheim, a pleasant musical revue that opened a bit flat, despite having all the elements in place.

The revue shares selections from throughout Sondheim’s career, including a few numbers cut from shows. Two songs penned as the opening number for A Funny Thing Happened on the Way to the Forum follow “Comedy Tonight,” the actual first number of both that musical and the revue. Narrator Alan Knoll, a late addition to the cast, doles out the details with the glib, chatty approach of someone accustomed to presenting, while referencing some note cards. Director Reggie D. White chose wisely when adding the personable Knoll to the cast though Knoll’s use of note cards reinforces the feeling this show could use more rehearsal.

The songs themselves get off to an uneven start as the cast of Phoenix Best, Paul HeeSang Miller, Saidu Sinlah and Amy Spanger struggle to find harmonic balance and the energy required for the lively opening choreography. Best has no problem staying on key during her featured songs, though her voice occasionally waivers as she works to adjust her harmonies in the group numbers. The high notes are problematic throughout the show; Spanger in particular was flat on opening night, and both Miller and Sinlah struggle with breath control and support in their upper ranges. I expect as the run continues, each performer’s voice will get stronger and more true throughout their range.

There are several numbers that will likely elicit applause with a bit more rehearsal. The duets “You Must Meet My Wife” and “If Mama Was Married” deliver the intended humor well. The contemplative “I Remember,” from the mostly forgotten Evening Primrose and the sassy, innuendo-filled “Can that Boy Foxtrot!” a song cut from Follies, as well as solos from Miller and Best, are unexpected highlights in the first act. That song, and the show, also gets a boost and much needed energy from Heather Beal’s choreography.

The second act features songs for which Sondheim was primarily the lyricist, including selections from West Side Story and Gypsy that are genuine crowd pleasers. Knoll and Miller have fun with a song about airline food and Best’s and music director Trey’von Griffith’s interpretation of “Send in the Clowns” features a rich, warm tone and a slight modulation that adds to the song’s emotional impact. A long medley featuring clever transitions from song snippet to song snippet closes out the evening on a relatively high note.

If you’re looking for a full musical experience, you may prefer waiting for a production of one of Sondheim’s works. Fans of Sondheim, however, will likely enjoy hearing selections from the composer and lyricist’s vast catalog, and the personal snippets, spilled like afternoon gossip by the jovial Knoll, provide an interesting narrative thread.