You’re all class. Never before have we seen such a grandiose set and world class singers crammed into such a tiny theatre. It sounds odd but actually it works. Like going to a concert hall for a show and sitting four metres away from the action.
Let’s get down to it: There are four reasons to come see you. 1. We’re already fans of the work of legendary American composer and lyricist Stephen Sondheim 2. We love a masterful score sung by exceptional, globally renowned singers 3. We appreciate concert-level musicianship 4. We want to see brilliant acting.
Any one of these reasons is enough to make it worthwhile seeing you.
Sure, you’re a revue that celebrates the genius that is Sondheim. (His body of work, which includes Into the Woods, Sweeney Todd, and Merrily We Roll Along, amongst many others, has positioned him as one of the greats). Anyone who enjoys his work will find a lot of joy in you, no question.
But even if we’ve never heard a Sondheim song in our lives, we’re still able to delight in you. It’s a testament to the power of his music, really, because it takes an exceptional song to captive an audience that isn’t already familiar with it.
Of course, it helps that your cast of five (Caroline O’Connor, Michael Cormick, Nigel Huckle, Stefanie Caccamo, and Bert Labonte) are some of the best of the best. Most of these guys come with a very long global credits list, including performing on Broadway and the West End. We’d pay just to hear them sing Happy Birthday really, so this here is a great treat. They have us captivated with each word in every song.
And then there’s your trio of musicians, Kevin Wang, Nicholas Till, and Richard Gleeson. We could get lost just watching these guys play, particularly the former two at their twin baby grand pianos. After all, it’s a rare thing in musical theatre to get to appreciate the musicians for the entirety of the show without actors getting in the way!
Though back to the actors for a minute – we must reiterate that the acting is indeed superb. It feels important to mention this, before we point out that your plot (centred around a small group of wealthy elites gathered at a cocktail party) makes for a wonderfully extravagant set, but is otherwise pretty loose. It’s ok, we get it, you’re a revue. You’re allowed to be more like a concert. Even so, it’s slightly disappointing when the semblance of a plot you began to form in Act I (that we’ve enjoyed speculating over the ending of during intermission) is all but disbanded by Act II.
It’s no matter though, your skilful actors are still able to take us on a journey of some form regardless. Particularly O’Connor and Huckle, who had us chuckling constantly with every pause and raised eyebrow.
Turns out no matter what setting you put Sondheim’s songs against, the profoundness of his lyrics – whether humorous or emotionally charged, remind us why he’s one of the greats. In fact, when pared right back to the music (especially when we have no idea which musical a song has been taken from), we get to form our own unique connection to it.
Yes, Putting It Together – who needs a plot when you understand the human condition pretty darn well without one.
With love,
Putting It Together is showing at the Foundry Theatre until 15 February 2026. Photos by Daniel Boud.