Wicked, warped and wacky world of the musicals

The Wonderful World of Sondheim, Bridgewater Hall, Manchester, by Marina Berry SATURDAY’S concert might have been more aptly named the “wacky”, “warped” or “wicked” world of Sondheim, as vocalist Kim Criswell was quick to warn her audience.

For the work chosen for the programme from Broadway’s greatest innovator was proof that his radical treatment of musical theatre from the 1950s onwards followed his belief that “anything goes”.

Introduced by an instrumental version of “Night Waltz” from “A Little Night Music,” the powerfully-voiced Kim was joined on stage by Glyn Kerslake. Between them they carried us through almost three decades of hits from Sondheim’s stage shows, giving life to lyrics which, although memorable, are rarely predictable.

The pieces chosen from a man who was Hammerstein’s protégé, looked at lives and loves, dwelling on fractured relationships, obsessions, young love and unrequited love, which brought a fair share of comedy and fun, sung with great on-stage chemistry between the two vocalists.

They included “Comedy Tonight” from “A Funny Thing Happened on the way to the Forum,” “Too Many Mornings” and “Broadway Baby” from “Follies” and “The Little Things you do Together” from “Company.”

All-in-all, it was a fun evening to lift the spirits, and a real treat for Sondheim fans, held together by one of the most personable conductors around, John Wilson, who, as usual at the Bridgewater Hall, brought out the best in its resident orchestra, the Halle.

His connection with the musicians, as he virtually waltzes on the spot, dipping and stretching with changes in the music, is a delight to watch.

My one criticism would be the strength of the orchestra drowning out the voice of Glyn during a rendition from “Sweeney Todd”, towards the end of the concert.

It is only a slight whinge, though, and one which should not detract from yet another enjoyable evening offered at the Bridgewater Hall in its popular programme of summer promenade concerts.