Janie Dee leads a strong company in an evening of songs by Stephen Sondheim that belie the claim that he did not write melodies.

There’s a story that Sondheim nearly quit writing musicals after the failure of Merrily We Roll Along (which closed after only 16 performances). Thank goodness he changed his mind and went on to write Sunday in the Park with George, from which comes the song after which this show is named.

Introducing Putting It Together, a company member explains that Sondheim insisted audiences should know that it is a review, not a revue. Watching this production some thirty years after it was created, it seems possible that Sondheim used it as a vehicle to review and reprise songs from Merrily that might otherwise have been lost – opening and closing numbers and many songs between are from that (then) failed show. Well, whatever his motives, Sondheim fans will be pleased he did so, as this revival shows off his work beautifully. The songs will certainly be more familiar to today’s audiences than they would have been in 1993 but that does not detract from their many pleasures.

The first production of Putting It Together was developed by Sondheim in collaboration with Julia McKenzie, then one of the great performers of his work. It seems fitting, therefore, that Janie Dee, another great Sondheim performer, should have directed and appeared in this revival.

The slight plot involves two couples, known only as wife and husband – Janie Dee and Edward Baker-Duly – and younger woman and younger man – Miriana Pavia and Tom Babbage. All four performers know how to tackle Sondheim’s tricky keys and tongue-twisting lyrics and deliver with verve and style, soundly supported by Jordan Paul Clarke and Archie McMorran’s musical direction.

The loose narrative explores themes of desire and disillusion and whilst this provides a frame for the show, it also imposes some limitations. For example, no songs from Pacific Overtures were deemed to fit in. On the other hand, it is nice to have included songs written for the movie Dick Tracy, which are not often taken to be part of Sondheim’s major canon.

A second limitation is that taking some songs out of their original context makes for occasional unease within this love-and-loss framing. While ‘Lovely’ in the context of A Funny Thing Happened on the Way to the Forum is a terrific parody of a leading lady number, here, in 2024, it feels an awkward way to introduce the Younger Woman (although Dee’s subsequent send-up of the sentiment is superb). Similarly, ‘Hello Little Girl’ (Into the Woods) might be appropriate for a fox pursuing Red Riding Hood, but the Husband singing it to the Younger Woman sits less easily. Perhaps hints of the piece’s somewhat dated gender politics led to the decision to cast drag queen Kate Butch as the fifth character, the Observer, and what a terrific decision that proves to be.

A set of chrome and black leather chairs and bar stools is, as noted in the program, a nod towards the original design. The arrival of Butch as the Observer with cell phone and references to Westfield initially seems at odds with the New York 90’s penthouse vibe of the set. Big-hair wig, six-inch heels and sequinned trouser suit – Butch literally stands head and shoulders above everyone else in their tuxedos and black dresses. Thanks to Dee’s direction and Butch’s increasingly nuanced performance, her physical presence does not unbalance the company and it quickly seems quite right to have such a performer play the Observer.

The first act has the Observer providing one-word introductions to the songs, which does not seem entirely necessary as Sondheim’s lyrics stand on their own. There is less of this signposting in the second act, and the show then takes flight. Pavia gets to show off her dancing as well as terrific voice with ‘More’. Babbage delivers an emotion filled ‘Marry Me a Little’, as does Baker-Duly with ‘Good Thing Going’.

Dee, having nailed ‘Ladies for Lunch’, goes on to stop the show with ‘Not Getting Married Today’.

But the biggest delight of the second act is Butch’s rendition of ‘Buddy’s Blues’ (Follies), a song originally about Buddy’s relationships with wife and mistress. Removing wig and make-up, Butch (now also in tuxedo) presents the song as being torn between their drag persona and besuited self – a terrific reinterpretation and brilliantly delivered.

The company collectively singing ‘Being Alive’ and a finale of ‘Old Friends’ ends the show on a high.

A great evening for all Sondheim fans that alas only has two performances. Here is hoping someone will be putting it together somewhere again soon.

**** Four stars

Reviewed by: Mike Askew