NEW YORK — Renowned theater composer Stephen Sondheim, who passed away in 2021, left behind an intriguing puzzle for his close friend, British theater producer Cameron Mackintosh. The task was to complete an unfinished revue of Sondheim’s songs that they had started conceptualizing during the pandemic. The duo had begun compiling lists of songs they wished to include, but Sondheim’s untimely death left Mackintosh with the responsibility of turning their vision into reality.
In reflecting on the project, Mackintosh recalls discussing with Sondheim his desire to focus primarily on the music to create something personal, though they hadn’t yet fully defined the show’s structure. After Sondheim’s death in November 2021, Mackintosh spent the holiday season crafting the initial framework of “Stephen Sondheim’s Old Friends,” a production now gracing Broadway with Tony Award winners Bernadette Peters and Lea Salonga.
The revue features several of Sondheim’s iconic tunes such as “The Ladies Who Lunch,” “I’m Still Here,” “Send in the Clowns,” and “Children Will Listen,” among others. Mackintosh aims to highlight both the intellectual appeal and the accessibility of Sondheim’s work, recalling how past revues “Side by Side” and “Putting It Together” unveiled the standalone strength of each song.
Beyond “Stephen Sondheim’s Old Friends,” Mackintosh perseveres in his role as a prominent theater impresario with various ongoing projects. These include a renewed North American tour of “The Phantom of the Opera” and two separate tours of “Les Misérables,” alongside upcoming revivals of “Miss Saigon” in the U.K. and “Oliver!” in London.
Mackintosh has mastered the art of reinvigorating classic productions, often introducing contemporary flair and fresh talent to enduring works. With minimal but thoughtful adjustments, his revival of “Phantom” features a more agile orchestra, capturing the same energy while subtly quickening its pace. It’s this meticulous approach that breathes new life into vintage productions, ensuring they remain relevant for modern audiences.
Bonnie Langford, who first knew Mackintosh as a young actor in “Cats,” witnessed his enduring enthusiasm backstage at “Old Friends” in London’s West End. His infectious excitement, even after decades in the industry, speaks to his passion for theater and determination to create vibrant shows.
While Mackintosh has brought “Les Misérables” to Broadway several times, he currently seeks to boost local theater opportunities, preferring to expand these productions regionally rather than always bring them to Broadway. His belief is that this approach fosters a new generation of theatergoers and performers.
Mackintosh also plans to reintroduce “Oliver!” to New York audiences. This is significant for him, as he began his career as an assistant stage manager on a touring production of “Oliver!” in 1965. His collaboration with acclaimed choreographer Matthew Bourne has provided this classic with a modern twist while ensuring it maintains the essence of the original.
For Mackintosh, captivating narratives and strong character development are paramount. He values the foundational plot and dialogue over musicality, ensuring that any musical he produces has a compelling story at its heart. His adaptations often include enhancing classic literary works, like those of Charles Dickens and Victor Hugo, with majestic scores and grand staging.
Echoing the passion of original creators, Mackintosh remains devoted to preserving the spirit of these musicals, resistive to the skepticism they might have faced initially, with a laughter-filled acknowledgment of their eventual classic status.