Review: Sondheim's Old Friends

If there was any more talent on stage at the Friedman Theatre, it might border on illegal. Originally devised by Sir Cameron Mackintosh as a one-night-only event in the West End in 2022, Sondheim’s Old Friends starred the biggest names in London, and celebrated the life of legendary composer and lyricist Stephen Sondheim—fittingly held at the theatre named after him. Mackintosh produced it again at the Gielgud Theatre for a limited run, this time starring theatrical royalty Bernadette Peters and Lea Salonga. Not long after its British closing, an American production was announced. It first played in Los Angeles, before traveling to Broadway at the Manhattan Theatre Club’s Friedman Theatre, again starring Peters and Salonga, this is a theatre lover’s dream. For two and a half hours, audiences are enchanted by performances of Sondheim’s greatest work, performed by a brilliant cast of stars. 

The company of Sondheim's Old Friends

This production is a masterpiece—its simple staging allows it to retain its identity as a revue rather than an attempt at full staging or simply a concert, yet does not detract from the music, which is the focus. Directed by Matthew Bourne, it features elegant costuming by Jill Parker, basing everyone in cocktail attire, but adding special pieces to differentiate characters, some more than others. The set, designed by Matt Kinley, was fairly minimalist as well, featuring two traveling towers that came in from the wings to create everything from Rapunzel’s tower during the Into The Woods sequence to buildings during West Side Story. There were a few other smaller pieces that flew in and out, including a smaller curtain and proscenium arch to frame “You Gotta Get a Gimmick” and “Everybody Ought to Have a Maid,” and a screen that lowered during “Not a Day Goes By.” The orchestra, conducted by Annbritt duChateau, sits atop a platform in the back, allowing them to be visible, which I greatly appreciated, especially in a revue-style production. Using most of the original orchestrations, the majority by Jonathan Tunick, his orchestrations enhance the lushness of the production and beautifully complement the stellar vocal performances.

It says everything about the cast’s strength that listing every standout would take up this entire review. There was a wide range of vocal styles in the cast, from Six alumnus Jasmine Forsberg to The Phantom of the Opera and Les Misérables veteran Jeremy Secomb, and the production was able to highlight the specific talents of each performer. Gavin Lee and Jason Pennycooke’s tap dance moment during “Everybody Ought to Have a Maid” was a joyous burst of quick-stepping energy—slick, witty, and perfectly executed to rapturous applause. Each performer was given a chance to shine, whether through a solo or dance sequence, while honoring the spirit of Sondheim’s music the audience knows and loves. 

Sondheim's Old Friends

However, there are two names that are listed above the title: Sondheim royalty Bernadette Peters, and legend Lea Salonga. These two do feature more heavily in the ensemble production, with each of them being allotted multiple solos throughout the show. Peters, the original Dot in Sunday in the Park with George, the Witch in Into the Woods, and many more of Sondheim’s iconic women, is stunning—whether revisiting her signature roles or playing new ones like Little Red Riding Hood and Miss Mazeppa. On top of those, she satisfies audiences with her classics, singing “Send in the Clowns” and “Broadway Baby,” much to the audience’s delight. Likewise, Ms. Salonga, though newer to Sondheim’s repertoire, dazzled in her own right. From her act two opening performance of "Somewhere," to her slightly deranged segment as Mrs. Lovett in Sweeney Todd, she was fantastic as she switched between vastly different vocal placements and styles, never losing the clarity that makes her such a standout presence on any stage. Though they carry top billing and receive more material, the show’s ensemble focus never wavers, preserving the spirit of shared tribute that defines the evening and carries through the celebratory spirit of Sondheim’s legacy. 

Bernadette Peters and Lea Salonga

The only real flaw in Old Friends is the most bittersweet one: it leaves you wanting more—specifically, full productions starring many members of this cast in the roles they tease so brilliantly. What I wouldn’t give to see Beth Leavel’s Joanne in Company after her sensational rendition of “The Ladies Who Lunch,” or a New York revival (in a few years) of Sweeney Todd or Gypsy starring Lea Salonga. Overall, this production of Old Friends is not just a tribute—it’s a vibrant, lovingly crafted celebration of Sondheim’s legacy, brought to life by a cast whose talent is matched only by their evident love and reverence for the material. It’s the kind of afternoon that reminded me why I love musical theatre and why it matters: emotionally rich, musically thrilling, and filled with moments that both honor the past and hint at futures we’d love to see. If this is a goodbye, it’s the kind that sends you out grinning, misty-eyed, and already planning your return.

5/5 stars

2 hours and 30 minutes, one intermission

Samuel J. Friedman Theatre

Through June 29, 2025