Stephen Sondheim may have written memorable songs that lifted people’s hearts, yet the composer-lyricist had a sharp temper when it came to criticism of his work, according to the author of a new book.
Paul Salsini, a former editor of the Sondheim Review, a US quarterly magazine dedicated to the composer, recalled how the writer of I Feel Pretty and Everything’s Coming Up Roses worked himself into a fury in 1996 after reading reviews in the publication.
This particular edition covered his lesser-known musical Passion, staged at the Queen’s Theatre in London after its Broadway success. The article acknowledged that although British critics generally praised Sondheim’s musicals, their mixed responses to Passion had ranged from describing it as a “piece from the heart” to giving it the new title of “Songs to Cut Your Throat By”. The journal’s own critic thought it was “a little self-conscious, frequently seeking your approval and acceptance”.
Enough was enough for Sondheim, who vented his anger on the journal’s then editor.
“To my surprise, Sondheim didn’t wait to write,” said Salsini. “He called. He was incensed and he started right in. I tried to respond, but he kept interrupting: ‘How could you print this? You didn’t quote the other reviews accurately. This review wasn’t fair. Had the critic even seen the show in New York? [Your writer] doesn’t have any credentials to write about musical theatre.’”
When Passion opened in London in 1996, two years after Broadway, it was a big deal, Salsini said. London critics had always loved Sondheim shows and it was expected that this show would receive unanimous raves. To the surprise of many – including Sondheim – it did not.
“So when the Sondheim Review ran an account that had reservations, he was, in a word, furious. We had talked on the phone before, but it had always been pleasant. I don’t think anyone has ever reported on Sondheim’s anger before. I don’t want to imply that this was frequent, but it does show that artists can be deeply protective of their work.”
The magazine bore the composer’s name but Sondheim was not formally connected with the publication. Salsini recalls trying in vain to placate him: “I couldn’t believe that he was actually ranting – and that’s the only word for it. He later wrote to apologise for his behaviour on the phone, but not for what he had said.”
Salsini thought it was a “balanced” article about a musical adapted from Ettore Scola’s Italian film Passione d’Amore, with a London staging that starred Michael Ball. The audiences clearly liked it, as it ran for 232 performances. He tried to point out to Sondheim that the review quoted both positive and negative responses, that the reviewer had twice seen the New York staging – even being moved to tears – and that they were certainly qualified to review musicals, having been drama director for a national theatre and assistant director of an opera company.
Sondheim, who died last November aged 91, made his name in 1957 as Leonard Bernstein’s lyricist for West Side Story. He went on to become the most important composer and lyricist in modern Broadway history, and was showered with awards, including an Oscar and Pulitzer. Salsini recalls the row in his forthcoming book Sondheim & Me: Revealing a Musical Genius, published by Bancroft Press. It chronicles Salsini’s relationship with Sondheim during his 10 years as editor of the Sondheim Review, which he founded in 1994.
Salsini shares his experiences of interviewing and corresponding with the US composer, including dozens of notes from him about articles: “Sondheim would read the magazine cover to cover, perhaps circling or underlining words or phrases, correcting or clarifying something that others might overlook. Every word had to be clear and correct. He obviously considered the Sondheim Review important because it would provide a permanent record.”
Sondheim was taken aback by the magazine’s founding, writing to Salsini: “I’m flattered and embarrassed and delighted at your interest. I can only hope there will be enough news to justify publication.”
Ironically, the Queen’s Theatre was renamed the Sondheim Theatre by its owner, Sir Cameron Mackintosh, who acknowledging his influence on musical theatre as having “no equal”. It is among historic playhouses that Michael Coveney, former theatre critic of the Observer, includes in his new book on Mackintosh’s theatres, Master of the House.
