Cabaret Review by Andrew Poretz . . . .
When composer and lyricist Stephen Sondheim died in 2021, a seemingly endless stream of stories about personal encounters with the legend appeared on social media. There were plenty of photo op photos, “letters from Steve,” and warm stories about time spent with Sondheim. Actress and singer Mardie Millit had a long writing relationship with the composer that began when she was a teen, well before Stephen Sondheim was “Sondheim.” The letters, and the profound effect they had on her professional and personal development, form the basis of Mardie’s new cabaret show, Sorry-Grateful, which was directed by the esteemed Eric Michael Gillett. Accompanied by her husband, pianist Michael Garin, the show is a musical homage to her friendship with Sondheim and his powerful influence on her life.
Though the couple opened sitting at the piano for a duet on “The Little Things You Do Together” (Company), about a perfect relationship, this show is Mardie’s story, with Michael as accompanist. And a fine story it is. Mardie, a self-professed “Sondheim geek,” was brought up at a time when being classically trained in music precluded other music, including musical theater. The Shadyside, Ohio native was first introduced to Sondheim’s music with his 1979 Sweeney Todd. Mardie felt compelled to write him a fan letter in 1980. His thoughtful response marked the beginning of their friendship. Eventually, she would meet him several times in New York.
Mardie’s interpretations of the material are internalized from the perspective of a woman who “understood what it means to be an alien in your own home.” Her reading of “Everybody Says Don’t” (Anyone Can Whistle) thus felt autobiographical. As her correspondence with Sondheim became frequent and personal—they even argued in a letter, and he would send little gifts—she felt she had a friend. A sweet, if unlikely medley of “I Do Like You” (cut from A Funny Thing Happened on the Way to the Forum) with Mr. Rogers’ “It’s You I Like” was a marvelously whimsical choice.
The very funny Michael Garin put his humor to great use in his solo spot with the improbable mashup of a boogie-woogie arrangement of “Losing My Mind” (Follies) with the decidedly non-Sondheim Supremes hit “Stop! In the Name of Love” (Holland/Dozier/Holland).
Seared into Mardie’s head forever was the time Sondheim introduced her to Arthur Laurents. She commemorated this memory with the beautiful “I Remember,” from Sondheim’s obscure 1966 television episode of ABC Stage 57, Evening Primrose, the score of which gave the world a pair of now-iconic musical-theater songs. “That lyric became our lives during the pandemic,” she noted drily. Mardie was superb on a mashup of the other iconic song from that show, “Take Me to the World” (Evening Primrose) with “Our Time” (Merrily We Roll Along).
Mardie’s “11 o’clock number”—perhaps the show’s biggest highlight—was Mardie’s powerful take on “The Ladies Who Lunch” (Company). This song is so “owned” by the late Elaine Stritch that any performer may find it difficult to avoid comparisons. But Mardie fully found her emotional center and truth here and delivered it like she owned it.
Mardie became visibly moved when speaking about Sondheim’s death, but noted, “He is everywhere.” Though she lamented that she never did get to sing for Sondheim, she may well be right when she asserted, “Well, he’s hearing me now.”
A rather interesting encore came in the form of “Fear No More” (The Frogs), a musical freely adapted from the Aristophanes play of the same name. Mardie poignantly sang, in perfect a cappella, lyrics performed by the William Shakespeare character in the show.
This was a very good first iteration of a well-crafted and very personal show that is sure to make a repeat appearance. See it.
Mardie Millit: Sorry-Grateful was performed on November 5, 6 and 13 at Don’t Tell Mama (343 West 46th Street, between Eighth and Ninth Avenues) www.donttellmamanyc.com
Photos courtesy of Jeff Harnar except where indicated
