One of the latest offerings to open on Broadway comes in the form of a tribute musical revue, dedicated to the incredible work of the iconic composer and lyricist, Stephen Sondheim. It is devised by producer Cameron Mackintosh, who has carefully selected songs from the musicals he produced in association with Mr. Sondheim. The two names that appear above the title “Sondheim’s Old Friends,” are the legendary Broadway veterans, Bernadette Peters and Lea Salonga. Boasting almost forty songs and running for over two and a half hours, it is a feast for musical theater afficionados. Most of the musical numbers chosen have been seen and heard in highly acclaimed revivals on Broadway in the past few years, which in themselves were a tribute, since Mr. Sondheim died in 2021. So, the necessity of this revue is the question that comes to mind; especially when considering minimal sets and costumes, along with very limited choreography, and diminished meanings of lyrics that are taken out of context.

Regardless of the question at hand, Sondheim fans will and are flocking to the theatre to be reminded of the magnitude of this composer’s oeuvre, and with good reason. The cast is remarkable and the pairings of songs with performers is surprising. Ms. Peters tackles some well-known dramatic favorites such as “Send in the Clowns” and “Losing My Mind” but truly shines when she unleashes her flair for comedy, in a hilarious rendition of “Gotta Have a Gimmick.” Ms. Salonga follows suit, with an earnest rendition of “Somewhere,” a dramatic showstopping “Everything’s Coming Up Roses,” and an extremely amusing “The Worst Pies in London.”  These two powerhouse performers do leave some of the mega-hits to several other cast members. The wonderful Beth Leavel brings down the house with a stinging “Ladies Who Lunch,” Gavin Lee brings a sarcastic and humorous tone to “Could I Leave You,” and Bonnie Langford belts out the survival anthem “I’m Still Here.”

Director Matthew Bourne provides an uneven evening and a song order that doesn’t completely make sense. The pace drags sometimes and for the most part performers walk on stage, sing, and walk off with little flow or continuity. The permanent scenic design by Matt Kinley consists of a double staircase (underused), that leads to a second level where the onstage orchestra lives. The massive sets that do move in from time to time are not impressive and the sometimes-ill-fitting costumes by Jill Parker are unimaginable and not of Broadway quality. What choreography exists by Stephen Mear is pedestrian and uninventive. The original orchestrations by Jonathan Tunick are a joy, especially when executed by the outstanding orchestra led by Annbritt duChateau. A highlight of the evening is the Entr’acte of Act Two which is the overture from “Merrily We Roll Along.”

Of course this is an enjoyable evening of theatre, provided by an excellent cast, led by two musical theater legends, but the production lacks certain Broadway qualities audiences have come to expect. If you are a Sondheim fan, run and get a ticket, but don’t expect anything new or innovative. If you are not a fan, just go and enjoy the music and the fine performances.