Review: Here We Are (Lyttlelton Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

It’s been three and a half years since the legendary Stephen Sondheim passed away. While the riches of his works have been revived repeatedly in the years since, he still had one gift left to bestow on an adoring world with his final work, Here We Are. After a premiere off-Broadway in 2023, it is now London’s turn to experience a brand new Sondheim work for the last time as here it is, opening at National Theatre - but will it prove fitting as a final chapter of an incredible legacy?

Inspired by two films of Luis Buñuel, The Exterminating Angel and The Discreet Charm of the Bourgeoisie, Here We Are sees married couple Leo and Marianne Brink surprised by four visitors. Determined to be the perfect hosts, they set out to take everyone to brunch but their attempts prove unsuccessful and their hunger grows. Eventually, they head to the Embassy of one of their guests where they finally get to eat… only to face another problem when they can’t seem to leave the room they’re in. If that isn’t enough of a worry, there is also the possibility that the entire world has ended… though I’d still be more concerned about being hungry.

Sound weird? You don’t know the half of it. Here We Are is surrealism at its finest, unashamedly finding the absurdity of the situation with Sondheim’s familiar charm and wit. Where the story is based on two separate films, the show itself does feel like two separate ones too, pieced together by the same characters and an overarching story in the background. Act One is full of music while the second Act has them far more sparingly, becoming more of a play than a musical. Slightly genre-bending, but the drastically different performance style works in the context of the story with the music stopping when the characters’ freedom also stops.

Meta and self-referencing in places, the fourth wall is broken in the first Act with one character declaring the play has ended. With the passing of Sondheim and the knowledge that this final show of his was never fully finished, it adds a poignancy to the story, whether that is an intentional nod to his passing or not, with the characters looking lost a great metaphor to a world of musical theatre without Sondheim. Eventually, they start again, but the comparisons to Sondheims passing return with a comment on the music dying in Act Two.

As well as Sondheim’s new musical numbers, there are homages to his previous works with nods to familiar tunes to be found both in the background and in some of the new numbers. Here We Are is not a one-man show, however, and was created with David Ives and Joe Mantello who have continued with the project following Sondheim’s passing to get it to where it is today, while keeping his original contributions intact.

David Ives’ book takes the surrealism of the story and finds a a cohesive narrative out of the bizarre, while never shying away from the stranger elements of the story. Each character is given defining qualities and the differing interactions between each of the main cast members, and changing relationships between them is what makes Here We Are so thoroughly enjoyable. With repeated lines giving a rhythm to the dialogue, it is always an entertaining watch and never boring even if sometimes you are unsure what you are even watching.

Joe Mantello’s direction finds creative ways to bring the story to life, always keeping one eye on the fun factor. A gorgeous set design from David Zinn sees a fairly minimalistic mirrored set transform into various restaurants before settling on the room the cast become stuck in, with great styling employed throughout. The surrealism is never lost in any element of the direction, and Mantello holds all of that together in his direction, giving a dream cast plenty to work with to maximise the impact of the words of both Ives and Sondheim.

Speaking of that cast, Here We Are features some of the very best of both stage and screen. They include Jesse Tyler Ferguson making a confident National Theatre debut and Martha Plimpton utterly hilarious as Claudia Bursik-Zimmer. Rory Kinnear delivers a fantastic turn as Leo Brink but it is his wife who proves to be one of the big players in this production. Jane Krakowski makes a welcome return to the London stage as Marianne Brink, delighting at every turn. The aura she has on stage ensures all eyes on her even when she is sitting in the background. The moment where the fourth wall is broken is an especially strong moment for her, with her awe at the audience and connection with them an inspired touch. The way she snaps back into her character immediately is a testament to her skill as an actress, particularly when it comes to her unrivaled knack for comic timing.

Chumisa Dornford-May is a highlight as Fritz in a role that proves initially enigmatic but adapts as the character literally lets her hair down to reveal another side of her. She forms a strong double act with Richard Fleeshman’s lovestruck Soldier (we never find out his name) with a chemistry that proves one of the more exciting subplots of Here We Are. As the pairs relationship blossoms and they have their ups and downs all in one room, the few scenes they dominate are electric.

Two cast members from the off-Broadway production have returned for this London one, and it is no surprise they are both among the best things about Here We Are. Both playing a variety of roles, Denis O’Hare has an early musical standout in ‘Waiter’s Turn’ - his delivery of certain lines proving some of the biggest laughs of the evening. He then takes on a more permanent role for the show’s second Act in a more sinister presence. The incredible Tracie Bennett similarly takes on a variety of roles, not just stealing the scene as she goes, but making it near impossible for anyone to match her phenomenal talents. This is best seen in what I consider the best musical number in the show, ‘It Is What It Is’. Even when she doesn’t have lines, her presence ensures a laugh with her meticulous character acting and subtlety in every move she makes providing laughs throughout.

I can’t help but wonder what Here We Are would have looked like in its finished form had Sondheim lived to see it premiere on stage. The fact the show has still been attempted and includes much of Sondheim’s iconic work to enjoy is enough of a reason to see the show. It may not be one of his best, but it is a timely reminder of his unmatched talents in the world of theatre.

It’s not perfect by any stretch, and it is certainly going to be divisive. Your enjoyment of the show is going to be very much personal to you and some will be frustrated and perhaps even bored by some of the choices. For me, I personally found myself loving the weird and wonderful world created on stage. Though my enjoyment of each Act differed slightly, I found the pacing in the first much stronger when compared to the second, it still stayed above a certain quality. You can never accuse Stephen Sondheim of being boring in his lifetime, and Here We Are is a fitting addition to his legacy. Innovatively realised and refreshing in its nature, I’m not sure this is one room I’d want to be stuck in for days at a time but it is certainly a room I'd gladly visit multiple times.

Here We Are plays at the Lyttlelton Theatre until 28th June. Tickets from https://www.nationaltheatre.org.uk/productions/here-we-are/

Photos by Marc Brenner