Top 10 Underappreciated Songs By Stephen Sondheim
#10: “Opening Doors”
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“Merrily We Roll Along” (1981) Ah, to be young and talented in New York City. Sondheim’s 1981 musical “Merrily We Roll Along” captured not only the magic of that feeling, but also the bittersweet tinge that can come with achieving your dreams. “Like It Was” is a melancholy meditation on friendship lost, and “Our Time” is one of Sondheim’s most underappreciated closing numbers. Still, nothing captures the real spirit of the city like “Opening Doors.” The frenetic and whip smart energy of the song perfectly describes the atmosphere surrounding three best friends as they try to move up in the Broadway world. It couldn’t be clearer how personal the song is, and we love it.
#9: “Sorry-Grateful”
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“Company” (1970) “Company” is certainly one of Sondheim’s more well-known musicals, and one with some of his greatest songs. But, sometimes, the “Being Alive”s and the “Not Getting Married”s of the world eclipse just how great a lot of the other songs are. “Someone is Waiting” is undoubtedly stunning. “Another Hundred People” doesn’t get its due like some of the musical’s other showstoppers, and “The Little Things You Do Together” is downright hilarious. In the end, though, we’ve got to give this entry to the beautiful sadness of “Sorry-Grateful.” It’s a reflection of the beauty, boredom, and heartache that marriage can bring, all wrought in expertly simple Sondheim fashion.
#8: “There Won’t Be Trumpets”
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“Anyone Can Whistle” (1964) “Anyone Can Whistle” is one of Sondheim’s most maligned musicals. When it opened on Broadway in 1964, it ran for a grand total of nine performances before closing due to terrible reviews. In the years after its closing, however, we’ve come to appreciate the artistry of many of the show’s songs. Songs like “Simple,” “See What it Gets You,” “Me and My Town,” and “With so Little to Be Sure Of,” for example. But, ultimately, if we had to pick one, we’d go with “There Won’t Be Trumpets.” The funny thing about this number is although it was cut during previews of the show, it’s become a favorite of performers – and for good reason. It’s beautiful and soaring, and a lovely showcase for singers.
#7: “Every Day a Little Death”
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“A Little Night Music” (1973) While “A Little Night Music” might not be one of Sondheim’s most popular shows, it definitely has some of his most beautiful and musically intricate songs. “Later” is a showcase for any performer lucky enough to sing it; as is “In Praise of Women.” The show also has two really wonderful songs that were cut, “Bang!” and “Two Fairy Tales.” But, for this entry, we wanted to give “Every Day a Little Death” its due. Sung by two women whose husbands have been unfaithful, the song is a deeply sad meditation on marriage and why one might choose to stay with someone who treats them poorly. A showcase for acting and singing alike, it’s a perfect number.
#6: “Ladies In Their Sensitivities"/"Kiss Me (Quartet)”
“Sweeney Todd: The Demon Barber of Fleet Street” (1979) It might seem surprising that a musical about a murderous barber would be one of Sondheim’s most popular shows. Weird, yes but, in this case, the story and music are so expertly wrought it’s hard not to fall in love with it. Many of Sondheim’s most clever and stunning tunes come from this show, such as “A Little Priest” and “Pretty Women.” Today, we wanted to spend a little time on the dual genius of “Ladies In Their Sensitivities"/"Kiss Me (Quartet).” The songs play off of each other in a magical way. While “Kiss Me” is an exuberant duet between Anthony and Johanna, “Ladies in Their Sensitivities” offers a bit of a darker turn as the judge plans to win Johanna’s love. The songs meld together beautifully.
#5: “If You Can Find Me, I’m Here”
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“Evening Primrose” (1966) We’re really getting into the weeds with this one, but true Sondheim fans will know. “Evening Primrose” was part of a television show called “ABC Stage 67” in the 60s. The show offered artists the opportunity to write plays, documentaries, and other art forms specifically for television. For the show’s ninth episode, Sondheim got his turn. “Evening Primrose” has a couple of lovely numbers, such as “I Remember” and “When.” We also love the driving, stirring nature of “If You Can Find Me, I’m Here.” It serves as the show’s opening number, and is delivered with such gusto by star Anthony Perkins, it’s impossible not to love.
#4: “No One Has Ever Loved Me”
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“Passion” (1994) Out of all of Sondheim’s shows, this might just be his sexiest origination. “Passion” more than lives up to its name, taking on themes of desire, romance, obsession, and more within its one-act run time. Each and every song in the show has such a sense of ardor to it, it’s difficult to choose a favorite. “Is This What You Call Love?”, “Loving You,” and “Happiness” all come to mind. But, the feelings we get while watching “No One Has Ever Loved Me” cannot be denied, especially when a really strong performer delivers the number. There’s so much love and pain baked into the words and melody, and it’s no doubt Sondheim at his best.
#3: “Unworthy of Your Love”
“Assassins” (1990) If you thought “Sweeney Todd” was Sondheim’s darkest show, we challenge you to think again. “Assassins” is a sort of musical revue that details the thoughts and feelings of numerous people who attempted (and succeeded) to assassinate American presidents. The musical is equal parts hilarious and disturbing, with incredible songs like “The Gun Song” and “The Ballad of Czolgosz.” What has to take the cake, though, is the stirring and disturbing declaration of love for Jodie Foster. “Unworthy of Your Love” is sung by a man who decides to kill Ronald Reagan to impress Foster. That might not seem like perfect fodder for a song – but just give this one a listen.
#2: “We Do Not Belong Together”
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“Sunday in the Park With George” (1984) “Sunday in the Park with George” is arguably Sondheim’s greatest accomplishment, and many of its musical numbers get just as much attention as they deserve. But, as with any great masterpiece, there are plenty of songs in this show that should get more praise. For instance, “We Do Not Belong Together” is one of the greatest musical theater duets of all time. “Move On” usually gets more of the attention out of the duets between the show’s main characters, but we adore how much emotion Sondheim packs into this one. Pain, yearning, anger, and love all meld together in one gorgeous number. Also in the roster are “Children and Art” and “Beautiful” – both possibly some of Sondheim’s best work. Before we unveil our top pick, here are a few honorable mentions.
“Invocation and Instructions to the Audience,” “The Frogs” (1974)
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“Could I Leave You?”, Follies” (1971)
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“Talent,” “Road Show” (2003)
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“No One Is Alone,” “Into the Woods” (1986)
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“Small World,” “Gypsy” (1959)
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#1: "Someone in a Tree”
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“Pacific Overtures” (1976) Some Sondheim shows are underperformed because they weren’t that popular in their time. But others – like “Pacific Overtures” – are underperformed simply because they’re difficult to get right. This musical has extremely specific stage needs that make it hard to perform and it, rather fittingly, features one of Sondheim’s most revolutionary scores. “Welcome to Kanagawa,” “Please Hello,” “Chrysanthemum Tea,” and “There is No Other Way” were all worthy contenders for number one. However, there’s something too whimsical and sophisticated about “Someone in a Tree” for it to be ignored. The song encompasses the show’s themes about history perfectly – and in a lovely ballad, no less.
