Here We Are
As you enter the auditorium of the Lyttelton at The National Theatre you might ask yourself the question: here we are, but for what? The set has mirrored wings and a white back wall, and as we will later see some impressive flying pieces. Prior to the show opening, and for no obvious reason Tracie Bennett is vacuuming the stage and polishing the mirrors. She did this for at least 20 minutes (the stage crew must have been delighted!)
Here We Are is based on two films by Luis Bunuel, The Discreet Charm of the Bourgeoisie and The Exterminating Angel. I’ve never seen either film but from what I can glean from Here We Are they must have been barmy films!
There have been many who have dismissed Sondheim’s work in the past – only to eat their words years later. This said, I think I am safe in saying this is not his best or most developed work. This is not surprising as Here We Are is Stephen Sondheim’s final show – and as such it hasn’t had the blessing of re-writes. So, what we seem to have is an insight into Mr Sondheim’s sketchbook – or indeed could it be we have an insight into his complex mind in a set that doesn’t seem to know what it is for? Lovers of Sondheim’s work are treated to rhythms and motifs that could easily have come from one of his many popular works – which brings a wry smile to those in the know.
As ever Sondheim plays with the musical theatre genre – the named characters almost always sing as a company whilst the unnamed man, woman, bishop and soldier get the big and comic numbers.
Although the show seems to have a wobbly start, there are some amusing scenes as the gaggle of lead characters (all of whom all seem to have been inspired by someone from AbFab) find ways to introduce themselves. We have Fritz the posh maverick (Chumisa Dornford-May) and their parents, Billionaire: Leo Brink (Rory Kinnear) and his busy-doing-nothing wife Marianne Brink (Jane Krakowski). We are asked to believe they have been descended upon by “friends” who have allegedly been invited for brunch. These “uninvited guests” include Paul Zimmer the plastic surgeon (Jesse Tyler Ferguson) PR Claudia Bursik-Zimmer (Martha Plimpton) and Ambassador Raffael Santello Di Santicci (Paul Szot). With no brunch available in their mirrored mansion, they begin their journey around New York in search of brunch, which eventually becomes a hunt for tea and eventually dinner!
In each scene there are some clever lines but none of the gathered group ever has their character fully developed. Instead, their bubble is popped by several characters played by Tracie Bennett (all of which seem to have come straight from the Victoria Wood sketch book) and Denis O’Hare who seems to have the best parts.
The show is serving Sondheim surrealness! This is encapsulated best in The Bishop’s song – who wants any job but his own – and a wonderful patter song of the waiter which is sung in Café Everything except nothing on the vast menu appears to be available!
If act one offers some surreal moments, act 2 turns up the dial – with the end of the world, a bear that seems to appear for no real reason and a full-dressed set that would not be out of place in a costume drama! Sadly Act 2 seems to lack some Sondheim magic, it’s certainly missing some great songs or maybe by this point I had begun to lose the plot!
In this review I am probably making the show sound more logical than it actually is. The stella cast reminds us nothing is what it seems - a reflection of their characters’ superficial lives. Each seems to be having a breakdown at different speeds. Or maybe again this is an insight into the composer’s brilliant mind, and all will make sense in 20 years’ time. Things happen for no reason, characters blossom and wilt before our eyes – and all the time we are accompanied by those syncopated rhythms and chords of the master himself.
I leave wondering ‘what have I just seen?’ Certain that it came from a musical genius, I’m glad that I’d experienced it. Would I go again? Maybe not!
This show was reviewed on the 8th May 2025 at the National Theatre, London where it's booking until 28th June 2025. Tickets available here: Here We Are | National Theatre
Review written by Paul Wood
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Photo credit: Marc Brenner
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