Not a day goes by

Not a single day

But you’re somewhere, a part of my life

And it looks like you’ll stay

A luxurious cast of living legends and rising stars bring a hearty smorgasbord of classic Stephen Sondheim songs to vivid life. Is it the stars or the songs that are the Old Friends? Either way, it’s a wonderful concept for an affecting and engaging tribute, and a fabulous piece of entertainment in its own right. 

Having begun life as a one-off gala tribute concert in May 2022, Sondheim’s Old Friends played a full West End season in late 2023 before moving to this current Broadway season. The fact that producer Cameron Mackintosh focuses the program on Sondheim musicals that he produced in London is acknowledged on stage; thankfully, there are no glaring gaps in the lovingly curated line up. 

Helmed by Matthew Bourne, Sondheim’s Old Friends mercifully skips patter and narration to present an uninterrupted cavalcade of beloved songs. Adding context, performance levels are often somewhat heightened to allow the songs to stand alone. 

Songs are generally grouped by their original musical, with exceptions where needed for dramatic impact. Full company numbers are a treat, with highlights including “Comedy Tonight,” “Into the Woods,” “A Weekend in the Country,” and “Sunday.” 

Collaborating with artistic consultant Julia McKenzie, Bourne takes poetic licence to refresh a couple of numbers. The “maids” referenced in “Everybody Ought To Have A Maid” are now the men who are singing the song. A little bit of “Bounce” is deftly interpolated into “I Know Things Now.” “Could I Leave You?” is winningly played as sung by a man who is fed up with his husband. 

Bourne’s musical staging is boosted by further collaboration with choreographer Steven Mears, who makes the most of triple threat talents in the younger cast members. 

Music director Annbritt du Chateau conducts a generously sized orchestra of 14 musicians. A clear highlight for the musicians is the toe-tapping overture from Merrily We Roll Along, played as the entr’acte for act two.

Designed by Matt Kinley, the simple yet elegant staging sees the orchestra in view upstage behind two curved staircases. Larger set pieces move into place for a Sweeney Todd bracket and, later, return for the “Tonight Quintet.”

Tentpole stars Bernadette Peters and Lea Salonga head a gifted company of talents, each of whom has ample opportunity to shine in the spotlight.

Jeremy Secomb makes for a darkly brooding Sweeney Todd. Gavin Lee soft-shoes through “Everybody Ought To Have A Maid” and later brings out the dramatics for “Could I Leave You?”

Jason Pennycooke captures the vaudevillian stylings of “Buddy’s Blues.” Bonnie Langford runs the gamut A to Z for a captivating rendition of “I’m Still Here.”

While many numbers are mined for humour, there are moments of stillness and power, not the least of which is a compelling performance of “Send in the Clowns” from Peters, who delivers similar impact with “Losing My Mind” in act two. In a thrilling moment, Peters returns to her iconic role of Dot for “Sunday.”

Salonga successfully plays well against type as a bloodthirsty Mrs Lovett in “The Worst Pies in London” and “A Little Priest.” Salonga later raises the roof with her own take on “Everything’s Coming Up Roses.” 

Beginning with Peters sending herself up, the full company joins a massed version of beloved charm song “Broadway Baby.” Later, Peters kicks off another full company number, with the deeply moving tribute “Not A Day Goes By,” clearly dedicated to the great composer himself; a photo montage of Sondheim accompanies the song, leaving not a dry eye in the house. 

A delectable sampler for newcomers and a treasure trove of memories for devotees, Sondheim’s Old Friends is a welcome dose of musical theatre magic. 

Sondheim’s Old Friends was reviewed 3pm Sunday 4 May 2025 at Samuel J. Friedman Theatre, New York where it plays until 15 June 2025. For tickets, click here.

Photos: Matthew Murphy