PPTOPA’s ‘Putting It Together’ Celebrates Sondheim’s Iconic Musical Numbers with Talent, Exuberance, and Style

We appear to still be in the midst of a Stephen Sondheim revival. While tributes and accolades have increased exponentially since his passing at age 91 in 2021, the American composer and lyricist – regarded as one of the most important figures in 20th century musical theater – has never been out of fashion. How could he be? After all, he’s the theatrical elder credited with reinventing the American musical!

One way to reconnect with many of the numbers that made Sondheim an unrivaled original is by attending his second, and last, musical revue (or “review” as he preferred to call it). PUTTING IT TOGETHER features music and lyrics by Sondheim, a light storyline devised by Sondheim and Julia McKenzie, with orchestrations by Jonathan Tunick. It took a while and some lobbying to get Sondheim to agree to an update of his popular earlier revue, “Side by Side by Sondheim,” which debuted in 1976. With involvement by producer Cameron Mackintosh and Julia McKenzie, Sondheim finally “put together” this new compilation. 

Of course, like anything Sondheim touches, and despite being grounded in 34 songs from his comprehensive musical canon, this revue can also be seen as an original show. And unlike your typical jukebox musical which leans on popular unrelated songs by a single artist which are then cobbled together (for better or worse) to illustrate a newly created story, Sondheim’s songs are all derived from existing musicals, with lyrics and music specifically written to match their scripts.  

So one criticism I’d read regarding his revues is that their songs only serve to remind one of how exceptional the musicals they’d appeared in were in the first place! Personally, I don’t find being reminded all that terrible and sometimes – when presented on their own and in a different format – the iconic numbers are able to shine and enlighten in fresh new ways. Still, for those who prefer a cohesive storyline with their musical entertainment, the updated 1999 Broadway version of Sondheim’s original 1992 UK debut of “Putting It Together: A Musical Review” (followed by a 1993 Off-Broadway run) now provides that as well. 

You need not have seen all (or even any) of the great shows these musical numbers come from, to simply sit back (actually, for Sondheim, better to pay rapt attention) and enjoy what’s, in essence, a heartfelt and hilarious new musical complete with comic introductions and asides, a singular setting, and implied backstory. And since Sondheim is known for never repeating himself in his creative endeavors, this particular edition – while still searing with societal critiques – appears to have abandoned some of the more deeply complex and dark explorations of human nature that have become Sondheim signatures. 

The latest Broadway version of “Putting It Together” – currently enjoying a beautifully layered production at The Pembroke Pines Theatre of Performing Arts (PPTOPA) – takes place in an upscale city penthouse populated by the rich, bored, and privileged. Where an all-night, black-tie cocktail party zeroes in on the individual ambitions, frustrations and marital troubles of two couples (individual and relationship angst being a common Sondheim theme). Inhabiting contrasting stages in life, the older, late-middle-aged couple holds a more jaundiced view of one another and their future together while the younger pair, despite flagrant insecurities, still relate with passion and naive optimism. 

As in modern life (and very much in Sondheim’s world) the couples struggle with their innermost feelings and desires, confront infidelity and the specter of divorce … all the while subjected to commentary by an omniscient Observer (or narrator) who introduces, and at times joins, the evolving scenes. Yet as dawn approaches, both generations reconcile with their respective mates – the young ones decide to marry; the older ones, to stay together and make their marriage work. THIS is what passes for “light fare” in Sondheim territory.     

Not known for his happy endings, we’ll happily accept any positive, light-at-the-end-of-the-tunnel resolutions. Was Sondheim prescient enough to realize it’s just what we’d need in today’s heavy, worrisome times? Especially when it can be so captivatingly rendered by PPTOPA’s director/musical director Geoffrey Mergele while showcasing the impressive vocal, dance and acting talents of South Florida stars: James A. Skiba, Colleen Pagano, Elijah Pearson-Martinez, Erica Kaylee Gouldthorpe, and Aaron Bravo. 

Interestingly, the musical’s title, “Putting It Together,” not only reflects the obvious process of combining key Sondheim songs to create a new revue. It is also named after a song in his groundbreaking 1992 musical, “Sunday in the Park with George,” which reveals the interior lives of characters depicted in pointillist pioneer Georges Seurat’s most famous painting, “A Sunday Afternoon on the Island of La Grande Jatte.” That musical also had plenty to say about the struggles and creative fanaticism of its visionary artist, a personality-type close to Sondheim’s heart. As the play’s eponymous song states (while going on to reveal a lot more about the playwright than the painter): 

  Bit by bit, 

  Putting it together…
  Piece by piece —

  Only way to make a work of art.
  Every moment makes a contribution,
  Every little detail plays a part.
  Having just a vision’s no solution,
  Everything depends on execution:
  Putting it together —
  That’s what counts! 

You can enjoy the full song as Act 1’s opening number. But first you’ll absolutely delight in what I can only describe as a vaudevillian introduction by Aaron Bravo (listed as Man #3 but actually the first actor we meet). Aaron aces his role as Observer/narrator and loud announcer of scene titles (“Happiness,” “Revenge,” “Deflection”). He joins the company in many musical numbers, and tends to inhabit the role of outside seducer (being the sole male “extra” in this two-coupled cast).  His hilarious recap of Sondheim’s more abnormal musical plots is worth the price of admission alone!

I never saw “The Frogs” from which his Invocation and Instructions scene hails. But I also absolutely adored Aaron’s delivery of warnings on when not to hum along, whisper to your neighbor, leave early … and do all those myriad things that constantly annoy the serious theater goer – from unsilenced phones to crinkly candy wrappers. I won’t say more except that he makes sure to also inform you it’s not Aristophanes (all part of his introductory comedy act par excellence!) Well, one more thing. This black-bearded guy will elicit plenty more laughs when he dons a frilly apron for the “Everybody Ought to Have a Maid” number (from “A Funny Thing Happened on the Way to the Forum”).

I was fortunate to attend the revised Broadway version of “Merrily We Roll Along” (Sondheim’s 1981 “big flop”) at Delray Beach Playhouse last year – right before it became a major Broadway sensation that won four Tonys, including Best Revival of a Musical. I’m mentioning this because two numbers from that musical, “Merrily We Roll Along” and “Rich and Happy” directly follow our play’s titular song. And that musical practically bookends the show, as Act II concludes with “Like It Was” and today’s newly popular, “Old Friends,” all from his earlier “flop.” Sondheim remained true to his instincts in choosing the numbers to feature for his second review, despite early critics. I only regret that he didn’t live long enough to bask in well-deserved vindication. 

Entering Act I, Colleen Pagano (Woman #1), the older married female, comically searches for her spotlight – richly deserved as her glorious, pristine vocals are always a pleasure. Coupled with comedic chops and incredible timing, Colleen represents the best in musical theater. While I fully enjoyed every one of her numbers, my favorites combined vinegar with honey. Like “My Husband the Pig/Every Day a Little Death” (from “A Little Night Music”). A masterful presentation of “The Ladies Who Lunch” (from “Company”). And I was simply blown away by Colleen’s rendition of NOT “Getting Married Today” (from “Company”). (Hint: Don’t hold your breath, she’ll outlast you; just keep your ears peeled for her Olympic-worthy feat of furiously fast lyrics.) This singing lady would even give Gilbert and Sullivan a run for their money.

James A. Skiba (Man #1) plays Colleen’s husband with suave, clueless frustration at first, though he’s far from immune to a wandering eye. He’s the seductive wolf in “Hello Little Girl” (from “Into the Woods”) and enthusiastically promotes playing the field “Have I Got a Girl for You” (from “Company”).

Happily, the younger people targeted by James don’t fall prey to his advances and advice. “Little Girl” Erica Kaylee Gouldthorpe (Woman #2) is no Little Red Riding Hood and, perhaps secure in being “Lovely” (from “A Funny Thing…”), resists his charms. Or maybe it’s because she always wants “More” – Erica’s bombastic glorification of material greed (from “Dick Tracy”). 

But love can bowl you over no matter what – especially when you’re young. Erica’s young love interest, Elijah Pearson-Martinez (Man #2), who at first resists commitment with “Live Alone and Like It” (from “Dick Tracy”), soon succumbs to “Marry Me a Little” (from “Company”). His need for a love connection is eventually confirmed by another notable number from “Company.” Sung toward the end by the entire cast, “Being Alive” illustrates how love often hurts and frustrates as much as it supports but is essential nonetheless to survival and the feeling of “being alive.”

In addition to the incredible performers and director/music director Geoffrey Mergele, the creative team responsible for bringing Sondheim’s second “review” to life includes production manager Wendy Marrero, marketing director Kim Pittman, stage manager Lisa McFadden-Murphy. I want to give a special shout out to lighting designer Michael Graham whose ever-changing colored light streams on the sleek, cube-style set created the perfect atmosphere for each musical number. Finally, my appreciation to whoever was responsible for costumes – especially the dazzling ladies’ gowns in the second act. 

Don’t miss this rare opportunity to enjoy Stephen Sondheim’s final musical revue. PUTTING IT TOGETHER is playing now through October 20 at The Pembroke Pines Theatre of the Performing Arts (PPTOPA), Susan B. Katz Theatre, 17195 Sheridan St., Pembroke Pines 33331. For tickets, head to their website at www.pptopa.com or call 954-890-1868.

The post PPTOPA’s ‘Putting It Together’ Celebrates Sondheim’s Iconic Musical Numbers with Talent, Exuberance, and Style appeared on South Florida Theater.