Someone sent me this after Sondheim’s death. My name is Richard Morris and I’m the bloke in this clip. Sondheim was very kind to we students. I’ll miss him and it’s sad to know that no more wonderful work will be coming from him.
I’m sure you’re quite very tired of hearing this, but you’re to very “superior” I’am, very clearly, so very talented and such a skilled singer, John. I know from personal experience how (extremely) difficult this piece is to attempt, and you really sang it so very beautifully and seemingly effortlessly that it has become a reference in my collection of songs to sing for many years when attempting to reach such heights in artistry, your performance. We will all miss Sondheim so fucking much. To me he was indisputably someone who saved me life.
You did a lovely job on this so very difficult song. I grew up singing Sondheim it seems and was at one of the birthday celebrations for his 80th birthday at the City center. It was a thrill just to see him get on the stage as the entire audience sang happy birthday to him, something I will remember for the rest of my life. His death is in incalculable loss to Broadway, and to wonderful music, and to the world. Lucky you to have worked with him! ❤
People like you are lucky to have meet this heavenly sent man and his talents to the world. I was a high school drama student for 4 years, which I will never forget. being able to do. Im glad we have these videos to enjoy.
I've always thought of Later as being one of Stephen's personal favorites, because he felt the very same frustration that Henrik felt at age 18. Therefore, he became extremely animated, to show you, and other viewers, the awkwardness, and hopeless despair, that he hopes for in this song. You delivered exactly what he wanted, in your last attempt. Good show, Richard.
It's funny that Sondheim himself thought the idea of assigning specific instruments to different characters was pretentious, and yet now we see directors who are reviving his musicals and using just that dramatic device (namely Sweeney Todd and Company.)
In my opinion, this is one of his hardest songs. Not just with the lyrics but also with the music. It goes all over the place. Wonderful song and in fact people should do it more at auditions
Farewell, Mr. Sondheim. You will be missed. You were truly a great teacher, in addition to being a wonderful composer. I must have watched this particular video a dozen times when preparing for my turn as Henrik in A Little Night Music back in high school.
This guy was great...i don't understand why people are calling him cocky towards Sondheim. He took direction extremely well and asked questions because he wanted to understand the character more fully. I would rather ask Sondheim questions about a character that he created rather than doing something that I do not understand.
there is so much freaking character development that i had never noticed. love this. need more videos like these with sondheim deconstructing his songs!!!!
"That's terrific!" To have the stamina to keep moving ahead with such a challanging, musically/emotionally, piece is worth a bow. I have total respect for the effort of this student.
the way Sondheim looks at him and tilts his head shows just how much of a brilliant man he is. This is one of my favorite musicals of all time, and I think this guy was incredible, he took direction well and it was amazing.
It is important for any aspiring artist, if possible, to hear what the creators were thinking, as it only can bring more ideas as to what you can, should, could do with materials. Love this show!
From my experience w/ this play & Henrik, you're supposed to be a little weirded out by the character; I think this guy really captues how insane Henrik is.....
I much enjoyed the rendition--it sounds almost note-for-note like the British recording from the mid-70s--and I don't think the singer's arguing w/ Sondheim but feeling his way (and Sondheim's reactions affirm this).
Wow, what a talented “ bloke”. Anyone who can sing a Sondheim song with the roller coaster changes in melody, repetitive and dramatic lyric is a vocal genius in my opinion. Not everyone can do it. You are great! Watching Sondheim’s tutelage is amazing.
When the deeper meaning is explained about the lyric, it makes sense. Reading out loud is a totally different experience than reading silently. Dont tell anyone, but i know someone special who could enhance your reading out loud skills - especially if you want to be a understanding broadcaster!
sondheim's critique is right on the mark. the singer has a good voice & he's very handsome, but is in service to himself rather than to the character. he doesn't get what sondheim tells him about a scandinavian breakdown. if henrik had the energy which the singer demonstrates, he wouldn't be as stuck as the character is supposed to be. the singer has the look of someone who could go places, but i don't think he will artistically, at leas, tbecause of his unwillingness to let go of himself.
Perhaps. I'll give him the benefit of the doubt, in that, I'm sure that he'd practiced this performance ad nauseam. I'd imagine it'd be hard for him to tonally adjust in the few moments he was given, and in an already nerve-wrenching situation.
I just watched the John Doyle production of “Company” with Raul Esparza, and it really annoyed me. I honestly thought the instruments got in the way of the story (it felt like Doyle was trying to show off his “concept,” instead of actually telling the story), plus we were deprived of Jonathan Tunick’s wonderful orchestrations. Also, I think that caused a lot of the acting to get short-changed in the process. That said, I thought Raul had a lot of great moments in his performance.
This accompanist is playing the song too fast. There's no breath in between the phrases, and he is leading the vocalist, as opposed to the vocalist leading him.
@@ghpiano100 Yes, rest assured that Stuart Pedlar, who had been the musical director of ALNM for the original London production, plays exactly how Sondheim wants it to be.
These rehearsals are great to watch. I'm not an actor or singer but have a lot of respect for those who do either well--on Broadway, it seems you have to do both well. I'm not worthy! So as a novice I what I get from these lessons is that Mr. Sondheim didn't write songs per se but melodic dialogue that it seems has to be sung (of course) but yet enunciated as if it were spoken dialogue...if that makes any sense. RIP, your works will live on
This young singer is talented, but notice how he keeps jumping into the character's anger. That's such a typical impulse in film/stage artists today. And Sondheim is calling him on it, as he should. Anger, attitude, sexiness, that seems to be the dramatic repertoire for most today. Real drama contains more subtlety though.
@Levraphael no he's not. he's very good and plus Sondheim is right there teach it to him, so if he was so bad would have told him. I know, Sondheim is veru honest.
krealle: haha sorry I had to look through all of this because I couldn't figure out what I was replying to. But with regards to the falsetto, in that the musical is actually closer to an operetta, I feel like Sondheim wrote the song intending the part to be sung full voice. However, I guess it's kosher if the acting can make up for it, but in this case I feel as though he falls short.
I was referring to bobbystormont's first comment. To me it seems a bit simple to label a note as "horrible", dissonance is usullay needed to make the music move forward. You don't want to listen to 3 hours of consonant chords (unless you are a fan of Morton Feldman).
This is a classic example of an actor who believes he knows best and has the performance set before the rehearsal and clearly ignores direction. Especially in this case when you have the creative genius directing you. Annoying
michael tannous Hi michael. I didnt say he being arrogant or rude I just think he may have missed a great opportunity. My point was that a rehearsal period allows for exploration (for example Sondheim's comment that he explored everyone in the original production being "assigned" an instrument - an idea that was ditched) There is nothing "wrong" in exploring a different approach but I would be interested in what his feedback after the session would have been i.e did he learn from it? Anyhow - wonderful that we get the chance to see and listen to all of this
I think he took direction pretty well considering how nervous he must've been with Sondheim himself staring at him. Everytime Sondheim gave him direction he tried to incorporate it into his performance and you could see him letting go of his notions of Heinrich as he absorbed what Sondheim was saying. Overall, he did a very good job both in his initial performance and in taking the direction and using it to improve his actions.
He takes the directions really well the second time around. Sondheim seems genuinely pleased with him at the end, and keep in mind the guy's only a student and this is an incredibly difficult song both musically and acting-wise. The pianist is also annoyingly rushing the song and not following the actor. Taking direction on the spot like that is bloody hard, plus there is an audience and cameras and Stephen freaking Sondheim, so all things considered he did rather well.
This was a poor choice for the student to sing. Way out of his range and technical capabilities which the conservatoire should've considered beforehand
The problem is pretty simply that he's constantly grunting in agreement. It's obnoxious, and he's so focused on himself that he's not actually listening to what Sondheim is saying.
@brth77 sorry but even after three attempts to take the anger out of the "all you ever hear is later Henrik" he cannot do it, he has programmed himself to perform it one way and there is no flexibility, If anything he is too dumb to take any changes on board, A performer who has a sharper character would pick up on what is being said and deliver on the second run not still getting angry on the third. Not surprised we have not really heard of this performer since.
