On Sondheim: An Opinionated Guide

by Ethan Mordden

In On Sondheim , renowned author Ethan Mordden takes the reader on a tour of Stephen Sondheim's work, arguing for the importance and appeal of the composer-lyricist in American theater and, even more, in American culture. Over the course of eighteen shows, Mordden demonstrates that Sondheim is a classical composer who happens to write musicals. Sondheim has intellectualized the musical by tackling serious content usually reserved for the spoken nonconformism (in Anyone Can Whistle , 1964), history (in Pacific Overtures , 1976), and cannibalism as a metaphor for class warfare ( Sweeney Todd , 1979). Yet his work combines complex music and intellectual plots with a masterly skill for the fabric of theatre. His shows are all intensely theatrical, produced with flair and brilliance, whether in the lush operetta of A Little Night Music (1973) or the quixotic fairy-tale magic of Into the Woods (1987).

Mordden provides fresh insights and analyses of every Sondheim show, from his first hit ( West Side Story , 1957) to his most recent title ( Road Show , 2008). Each musical has a dedicated chapter, including articles on Sondheim's life and his major influences, and comprehensive bibliographical and discographical essays place the Sondheim literature and recordings in perspective. Writing with his usual blend of the scholarly and the popular - with a wicked sense of humor - Ethan Mordden reveals why Stephen Sondheim has become Broadway's most significant voice in the last fifty years.

Genres: Nonfiction, Theatre, Music, Biography

216 pages, Hardcover

First published November 25, 2015

Reviews

[Craig Regis · Rating 5 out of 5]

Definitely for hardcore Sondheim fans.

[Aaron Ambrose · Rating 5 out of 5]

Smart and smart-alecky, just the writer I want to spend time with on a topic like Sondheim. Mordden is peerless in this category - he knows the history, he understands the disciplines, he gushes and gapes unapologetically, and he allows for all kinds of taste (though he will persuasively argue that there is usually a correct hierarchy). Erudite but never stuffy, fun but never reckless, deeply opinionated and also deeply humane, this is glorious analysis. If all musical theater were as kicky and engaging as Mordden's writing about it, well, I don't know what. But it WOULD be super frickin' amazing.

[justin chustin · Rating 3 out of 5]

This book is interesting and I enjoy it fine but he writes in such a whiny and annoying style and I kinda hate him.

[Alex · Rating 3 out of 5]

This peters out toward the end, with some ultra-short chapters that I wished were more expansive, but this is sophisticated analysis that sees the bigger picture about Sondheim and musical theater history, with fascinating connections and references (and a few good bitchy asides).

[David · Rating 4 out of 5]

Mordden's approach to Sondheim's work is, indeed opinionated, and (sometimes) can seem arbitrary. Most of the book is taken up with a chronological approach to his plays, and some, such as Passion, gets a deep analysis and contextualization vis-a-vis its origin material, other shows, such as Into the Woods, are treated in briefest mention.

Most valuable in this book are Mordden's connections across Sondheim's career and his placement of Sondheim's work in the larger sweep of the Broadway musical. However, Mordden, a long-time critic of Broadway and pop culture, revels in employing French terms or obscure comparisons to make his points. While that might work well in a New Yorker essay, its an off-putting style in a book that professes to "address all readers simultaneously, from the aficianado through the average theatregoer to the newcomer whose familiarity with the subject is still in process". Mordden is speaking directly to the first of those groups only; what he has to say is valuable, but only to the well-initiated Sondheim-phile.

[Jeff · Rating 2 out of 5]

I've read a lot of books on Stephen Sondheim and though this one feels fairly complete, it's missing passion and heart. The author maintains a distance throughout as he analyzes Sonheim's work and career. This isn't really an affectionate biography-- more a dissection. Mordden fully details Sondheim's influences and places him directly in his 'cause and effect' of musical theatre history.

Though it is (mostly) chronological, there are constant throwbacks referencing other work composers and their works-- how they may or may not relate. I felt like Mordden when off on a lot of unnecessary tangents -- sometimes in explicit detail-- and other times, he touch on a thought and then abandon it abruptly. I personally would have preferred a more connected, passionate book instead of the sterile offering.

I received a copy from the publisher through NetGalley in exchange for an honest review.

[Shawn Hill · Rating 4 out of 5]

Mordden is a pop culture essayists, and he seems to love musicals as much as he loves movies. The usefulness of this volume is that he tracks Sondheim work by work; the analyses are more like summaries, but they are pointed and informative, a fan writing for other fans. For me, a musical novice, it's my introduction to Sondheim. Now I know why I like songs from A Little Night Music and certain other works, and why I've always avoided others.

[Jeremy Bagai · Rating 3 out of 5]

Informative and enjoyable, but oddly unsatisfying. The analysis is rich with historical context and dramatic insight. And certainly opinionated, as advertised. It's just that there could have / should have been two-to-three times as much for each show.

These are deep, rich, complex, and important works. That's why we keep putting them up and driving cross-state to see them. The analysis that's there is great, but why jump out after ten pages? We were just getting started.

[Eric Peterson · Rating 4 out of 5]

I have a long and complicated history with Mordden, from both his musical theater/opera books and his gay fiction. But bottom line is I like his writing A LOT and this is a delightful, if slight, book. I'm not sure how much it has to teach one who isn't familiar with Sondheim anyway, but it's a very enjoyable read. Most useful are the bibliography and discography he includes at the end.

[David · Rating 3 out of 5]

Ethan Mordden makes his case that "...the intellectual and academic worlds paid little heed to the musical until Sondheim took hold of it; now the intelligentsia has raised the form into a discipline all its own." (p. 149) But, oh my, some other Broadway luminaries get brickbats and onions: Jerome Robbins, Arthur Laurents, the Kerrs.

[Keith · Rating 5 out of 5]

The title is very clear that it is one persons opinion on Sondheim. Despite that, Mordden makes some good points and has some good insight into Sondheim and his work. Mordden is also a writer who I really enjoy reading - something about his style works for me.

[Robert LoBiondo · Rating 3 out of 5]

I'm a Huge Sondheim fan and this didn't satisfy.

[Howard · Rating 4 out of 5]

I enjoyed the book but it had a lot of tech show music terms some of which I wish the author had explained some of the terms in laymen's language.

[Deb · Rating 4 out of 5]

An interesting and, as described, opinionated series of essays.

[Ricki · Rating 2 out of 5]

The title pretty much says it all, but it is also rather dry.

[Jimmit Shah · Rating 2 out of 5]

Difficult to read if you don't have enough background on the entire history of broadway, due to a lot of references to other works. Also, narrative style is edgy

[David · Rating 4 out of 5]

Ultimately, Sondheim fans will be delighted by this generally breezy. 'opinionated' but not at all critical overview of the great man's musicals.

Mordden is, indeed, a die-hard Sondheim fan and easily an unabashed cheerleader of all of these musicals - even the flawed ones. Admittedly, there is very little that is all-that-flawed in Sondheim's impressive body of work. But many seem to take issue with certain titles. Not Mordden. He seems to find good everywhere throughout and is particularly intrepid about connecting certain musicals (i.e., 'Passion' - which has divided many) with their influences and their general reasons for being.

This is a quick read - and a friendly one (esp. when Mordden throws in welcome humor, which I think he could have allowed more of 'cause he can be very funny). However, each chapter devoted to individual works runs on the short side, often making the reader wanting more. As well, Mordden (who has spent years not only as a novelist but also a chronicler of musical theater over the decades) spends time on tangential info that he seems to feel is crucial in understanding Sondheim's place or approach...when it isn't, really, in either case, and just steals focus needlessly.

For those who are already huge fans - know the musicals rather well, have read elsewhere about Sondheim or have read Sondheim's own two-volume set which covers his career, much of what is here will probably not be all that new. Still, Mordden's viewpoint is often refreshing and he's a generally engaging host as he shares his enthusiasm for the man he ultimately designates as "*the* author of musicals, period".

As a side-note, I must say I esp. enjoyed the chapter on 'Pacific Overtures' - which Mordden writes of in such a way that it has given me a fresh perspective on one of the musicals I have felt removed from.

[Patrick Finn · Rating 3 out of 5]

This book is strictly for diehard Sondheim fans who must read everything written about him, or fans of the great writing of Ethan Mordden, or preferably both. Mordden's perspective is always fresh. I only wish some of the essays were longer.

[Mark R Finley · Rating 5 out of 5]

Mordden Does Sonheim

If you have read any of the author's other volumes n the history of the American Musical Theatre - you knew this book was inevitable. As always - perfection.