'Putting It Together' is a dazzling celebration of Stephen Sondheim's greatest work, set at a glamorous cocktail party and blending wit, charm, and razor-sharp insight.
A cast made up of phenomenal Australian stage talent will perform this seamless revue of Sondheim's most iconic songs at Sydney's Foundry Theatre, taking audiences on a journey through his genius. Expect to see Caroline O’Connor ('Chicago', 'Gypsy', 'Sweeney Todd'), Michael Cormick ('The Phantom of the Opera', 'Beauty & the Beast'), Nigel Huckle ('Miss Saigon', 'West Side Story'), Bert LaBonté ('Moulin Rouge! The Musical', 'The Book of Mormon') and Stefanie Caccamo ('Into The Woods', 'The Lord of the Rings’).
The show was first performed in Oxford, UK, in 1992. It was performed originally in the US in 1993 featuring Dame Julie Andrews who made a return to the New York stage after an absence of more than 30 years.
The combined talent of these Australian gems will transform 'Putting It Together' into an unmissable theatrical experience.
Here, we caught up with the inimitable Caroline O'Connor before the show in Sydney to talk all things Sondheim, her fellow performers, life on the stage and more.
‘Putting It Together’ frames Sondheim’s music inside this glamorous cocktail-party setting. What excited you most about stepping into that world?
Ask any musical theatre performer if they’d like to do a Sondheim show, and I’m quite sure the answer would be an emphatic “yes!”. This show has been celebrated in London and New York, and I’m thrilled that it is now opening in my hometown, Sydney. I’ve always been a huge fan of Julia McKenzie, who not only conceived the show but also starred in it. Other incredible performers, such as Julie Andrews and Carol Burnett, have taken on this role, so I feel truly honoured to have the opportunity to step into it myself.
You’ve performed Sondheim before, in shows like ‘Sweeney Todd’. What do you think makes his work so endlessly rich for performers?
I think it’s a combination of several things. Sondheim’s music and lyrics are, at times, extremely challenging to learn, which makes the actor’s work more demanding – and ultimately more rewarding. He writes with tremendous emotional depth, and his songs feel like miniature plays, each with a clear beginning, middle, and end. Sondheim also possesses an extraordinary understanding of the human spirit – our characteristics, contradictions, and nuances – which makes his work feel deeply familiar and profoundly relatable.
This show brings together an incredible cast. Have you begun rehearsals and if so, how has the dynamic been in the room with this particular group of performers?
Yes, we are very grateful to have such a magnificent cast and creative team. I truly believe that strong casting is the secret ingredient to a successful production. Fortunately, we have all worked together before, so there is already a foundation of trust, mutual respect, and a shared work ethic. We have just completed our first week of rehearsals, and it has been thrilling to watch each actor bring their own interpretation to the songs.
Image © Kurt Sneddon
Is there a Sondheim number in the show that hits you differently now, compared to earlier in your career?
Oh my goodness – there are so many! That’s what makes his work so fascinating. As a woman, I’m continually amazed by Sondheim’s deep understanding of the intimate and emotional experiences we go through, especially how those feelings evolve with age. 'Ladies Who Lunch' is a perfect example. It’s a song I never felt I should sing when I was younger, but one that feels right for a more mature woman – someone who has lived a full life and carries those experiences with her.
Revue-style productions can feel wonderfully intimate for an audience. What sort of atmosphere or connection are you hoping people feel when they walk into this one?
Indeed, revue-style shows are not seen as often in Australia, particularly when it comes to music theatre. We are performing at the new Foundry Theatre, an intimate venue that allows for a much more up-close and personal experience – something audiences don’t always get in a larger theatre.
Sondheim’s music is known for its emotional complexity and precision. Do you have a favourite Sondheim musical moment?
I’ve appeared in several of Sondheim’s shows, 'Into the Woods', 'Assassins and Follies', and there are always challenging passages to learn. But in all honesty, 'Sweeney Todd' was the most difficult. Adding to that challenge, I had only two weeks to learn the role. I felt an extraordinary sense of pride when I was able to rise to that challenge and received such a wonderful response. Knowing that Sondheim himself was sitting in the audience in the Chatelet Theatre in Paris on opening night is a feeling I will never forget.
With a career that’s spanned so many iconic roles, how does returning to a Sondheim piece like this fit into your own artistic journey at the moment?
The timing feels just right. There are still so many roles in Sondheim’s work that I would love to play, and I’m now at an age where I can truly appreciate them. I’ve been fortunate to have an incredibly diverse career – working in many different styles of musical theatre, traveling, and performing across three continents. It’s deeply rewarding to come home and work on this particular piece. It feels as though I’m getting to experience many of his shows all in one evening.
If someone coming to the show has never experienced Sondheim before, what do you hope their takeaway will be?
I truly hope people will come to see this piece, even if they’re not familiar with Sondheim. He is celebrated around the world – particularly on Broadway – for his brilliance as a writer. It would be a real shame for audiences to miss the opportunity to experience a different kind of musical theatre production, one that is both deeply moving, highly entertaining and immensely satisfying.
‘Putting It Together’ feels like both a celebration and a tribute. What does being part of this show mean to you personally?
I feel truly honoured to be part of this production – not only because I am such a huge fan of Sondheim, but because I feel a deep personal connection to his work. I’ve had the privilege of not only meeting him, but also having him attend rehearsals and opening nights. I was invited to sing at his 80th birthday celebration at the Royal Albert Hall at the proms. These experiences have fostered a profound sense of respect and connection. This production feels like a thank you and acknowledgment of his extraordinary legacy and his stature as a composer-lyricist.
'Putting It Together' plays Foundry Theatre (Sydney) 6 January-15 February.
