Sondheim Quotes

Here, we’ve compiled a list of the best Sondheim Quotes from famous persons: Mandy Patinkin, Dennis DeYoung, Ron Mael, Randy Rainbow, Richard Corliss. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Sondheim Quotes before, but that’s because they truly are great.

In my prayers every day, which are a combination of Heb

In my prayers every day, which are a combination of Hebrew prayers and Shakespeare and Sondheim lyrics and things people have said to me that I’ve written down and shoved in my pocket, I also say the name of every person I’ve ever known who‘s passed on.
It’s great when it all comes together in a great musical like ‘Sweeney Todd,’ when Stephen Sondheim writes songs from heaven, the book is good and the staging is good. But it’s very rare when that happens.
Even though we try not to be nostalgic about drawing from old music, I’m always inspired by things like old Cole Porter songs or the words in the Gershwin songs or even Stephen Sondheim, where there’s a real craft to them but it isn’t only that you‘re hearing the words it’s that it links so well with the music.
I heard from Stephen Sondheim, who has become a great supporter of mine. There was no one bigger when I was growing up.
Hollywood has always seen Sondheim as a caviar brand unsuitable for a popcorn industry.
‘Sweeney Todd’ is my favorite Sondheim musical.
Say you have a young black kid, and you come to see a Sondheim show. You love the material, but you look on stage, and you don’t see anyone who looks like you. That puts a barrier between the audience and what they’re trying to absorb.
If I could play any role in any musical, it would be Desiree in ‘A Little Night Music’ – Oh my, it is perfection. The character gets to be funny, beautiful, sexy and smart all at the same time and have two men fighting over her. The show is Stephen Sondheim at his absolute bestneed I say more?
Nancy Allen
Because I am the biggest musical theater nerd, I worship Sondheim.
Sondheim is my god; I love the man. I learned a great deal about writing from his work, his lyrics, and his structure.
I think I enjoy Sondheim so much because of the lyrics. The lyrics, the cornucopia of options.
Musically, I’m a huge fan of Stephen Sondheim, and I love, love ‘Sweeney Todd.’
I think Stephen Sondheim is a – and I hardly ever use this word – but this is as close as it gets to a genius.
Tom Kitt asidehe‘s in his own category with me, of course – Stephen Sondheim is one of my all-time favorite composers.
I am thrilled to receive the Sondheim Award from the wonderful Signature Theatre. I have already received the invaluable gift of over twenty-five years of collaboration and friendship with Steve. Now I get to have his award, too!
The thing about Sondheim is that it does get very cerebral. You do need a faculty with words and a love for the lyrics to not just pull it off, but to have an appreciation for it.
As a performer, once you’ve understood the genre of musical theatre, you can tire very quickly of the two-dimensional stuff. With Sondheim, it’s always a challenge. It’s difficult and exhilarating and he’s so good on the complexities of relationships and on things going wrong.
The three theater peeps I would love to dine with are Mel Brooks, because he is so funny; Stephen Sondheim, because he is a god-like genius; and Ethel Merman, to compare notes on fabulous belting.
Nancy Allen
Stephen Sondheim I am in awe of.
That’s the only show where, if anyone says to me, ‘Is there a role you want to play?’, I say, yeah, I want to play Sweeney Todd. Stephen Sondheim’s so clever; it’s a profoundly brilliant piece of work.
In the Stephen Sondheim song, when something bad happens in the circus, they send in the clowns. In America‘s political circus, they send in the lawyers.
Stephen Sondheim is calculus for actors. The words are witty and brilliant and profound but complicated.
There is genuine healing in a beautifully crafted musical theatre song, like Stephen Sondheim’s ‘Losing My Mind,’ or a pop music gem like Joni Mitchell‘s ‘Help Me.’
I don’t think it’s that I don’t like Sondheim. It’s that I find it really… I don’t know how to describe it. Doing it is the most extraordinary thing. Because it’s like Shakespeare times 100 with singing. It’s that satisfying – and that demanding.
To my mind, ‘Dear Brutus’ stands halfway between Shakespeare’s ‘A Midsummer Night’s Dream’ and Stephen Sondheim and James Lapine’s ‘Into the Woods‘. Like them, it is a play about enchantment and disillusion, dreams and reality.
Sondheim informs us, more than any other composer, about the joys, passion and pain of being a woman living in various social conditions through the ages with frightening accuracy. Playing a variety of his characters has always made me feel like I’m having a free therapy session through his words and music!
Hannah Waddingham
I compare Stephen Sondheim with humor, because humor is unanalyzable. You can’t analyze humor. You just have to get through it.
No One Is Alone by Stephen Sondheim is all about thinking for yourself and being your own person.
Sondheim has been a part of my musical collective since I was eight. I was a dramatic little kid.
Sondheim writes the music and lyrics, and because he’s so smart and goes so deep with his feelings, there’s a lot to explore, get involved with and learn about.
That’s one of the beauties of James Lapine and Stephen Sondheim and their work together. They have such a depth to the emotional exploration of the story that they’re telling, but there’s always a release, and the release is a laugh.
Stephen Sondheim told me that Oscar Hammerstein believed everything that he wrote. So there’s great truth in the songs, and that’s what was so wonderful to find.
Sondheim is New York.
The first time I encountered Stephen Sondheim was like everyone else: through snatches of old songs people performed in drama school, through ‘Send in the Clowns,’ which everyone knew. I wasn’t aware at the time that he was the writing force behindWest Side Story’ and ‘Gypsy.’
Sondheim’s work especially, and musical theater like that, just spoke to me so much and taught me so many lessons.
I think one of my favorite productions ever was Sondheim’s ‘Assassins’ at the Roundabout in 2004. Beyond brilliant.
Sondheim is the Shakespeare of the musical theater world.
The music for ‘The Last Five Years’ is like running a 26-mile marathon, and singing Sondheim is like ballroom-dancing up Everest.
As a person, Stephen Sondheim is a very funny, very dry and very shy man. I’ve never witnessed any diva-ish moments, he just always seems so thrilled people are doing his work.
Leonard Bernstein was probably the most significant formative influence on me – he was such an encompassing musician. I spent my teenage years absorbing him, and my other interests stemmed off of that. Bernstein led me to Sondheim and to Gershwin, and Sondheim led me to listening to Joni Mitchell.
I’m a devotee of Stephen Sondheim. I think he’s a genius.
My favorite show tune has got to be Stephen Sondheim’s ‘I Remember Sky.’ It’s probably the saddest song of all time; I sing it to myself in the mirror. No, I am kidding. That’s the joke.
We got to see Sondheim shows, ‘Phantom of the Opera,’ ‘Cats‘ and all sorts of stuff. When you’re 10 or 11 years old, it’s just magnificent. The story-telling, the music – it lifts you out of your seat.
When Sondheim was visiting the Library of Congress, where the manuscript of ‘Porgy and Bess’ is housed, he was so overcome with emotion while holding the score in his hands that he shed a tear. He shed several tears, but one of the tears actually fell onto the original manuscript. And he was horrified.