Putting It Together

The University of Manchester Musical Theatre Society took on Putting It Together, a musical revue celebrating the work of Stephen Sondheim, and while the production had several strong vocal moments and some committed performances, it was ultimately a mixed evening. Sondheim’s music is notoriously intricate, demanding clarity, precision, and emotional nuance, and although the cast approached the material with enthusiasm, the overall execution didn’t always rise to the level the score requires. Still, there were flashes of real talent throughout the night, and certain numbers stood out as highlights.

The revue opened with “Rich and Happy” from Merrily We Roll Along, performed by Adam Fox, Tadhg Fitzgerald, Lewis Diggins, Summer Lagan, and Scarlett Bartman. Set within the context of a party, the number had the right sense of bustle and social energy. Each performer brought a distinct character to the ensemble, and they were able to convey the underlying irony of the song the idea that wealth and success don’t necessarily equate to fulfilment. Their harmonies blended well, and the staging allowed each singer a moment to shine. It was a promising start that suggested the evening would continue with the same level of cohesion.

“Do I Hear a Waltz?” sung by Sam Murray and Sarah Hulstine, was one of the more memorable duets of the night. Sam’s deep, rich vocals were a particular highlight because he brought warmth and resonance to the melody, grounding the number with a sense of emotional sincerity. His tone carried beautifully across the venue, and Sarah complemented him with a lighter, more lyrical quality. Together, they created a lovely contrast that suited the song’s romantic tension. It was one of the moments where the audience could fully relax into the music and appreciate the performers’ vocal strengths.

“Hello, Little Girl” from Into the Woods, performed by Freddie Raphel and Aryaa Chakraborty, was another strong number. Both performers were able to capture the playful, slightly sinister undertones of the song. Freddie brought a sly, wolfish charm to his role, while Aryaa balanced innocence with a knowing sense of humour. Their interaction was well‑timed, and they handled the rhythmic shifts with confidence. It was clear they understood the storytelling behind the song, not just the notes.

I have to say that the minimal staging and the varied entrances made the production feel fluid and adaptable. The simplicity allowed the performers to take centre stage without distraction, and the use of different entry points kept the revue visually interesting. It also suited the nature of Putting It Together, which is less about narrative and more about presenting Sondheim’s work in a flexible, cabaret‑style format.

However, there were some issues with sound that affected the overall experience. Much of this stemmed from the way the singers were holding their microphones. At several points, the microphones were not held close enough to the mouth, resulting in lost lyrics and diminished vocal clarity. This was particularly noticeable in ensemble numbers, where the balance between voices is crucial. Additionally, the sound levels between the band and the singers were not always well‑matched. There were moments when the band overpowered the performers, making it difficult to catch the subtleties of Sondheim’s lyrics. For future events at this venue, it would be beneficial to allocate more time to microphone technique and sound checks to ensure that the performers are fully supported and that the audience can hear every word.

There were also some lighting issues. While I understand that this venue is primarily a concert space rather than a traditional theatre, the front lighting needs attention. Several times throughout the evening, performers’ faces were in shadow, which made it difficult to connect with their expressions and emotional delivery. In musical theatre, facial expression is a key part of storytelling, and when the audience can’t see the performers clearly, some of the impact is lost. Adjusting the angles or intensity of the front lights would significantly improve visibility and enhance the overall presentation.

Another duet, “A Country House,” cut from Follies, was performed by Hope Briggs and Stephen Deturbide. This number showcased good vocal clarity and intonation, and both performers demonstrated strong control. Importantly, they held their microphones correctly, which made a noticeable difference in the sound quality. Their voices blended well, and they captured the slightly comedic, slightly melancholic tone of the piece.

“Live Alone and Like It” from Dick Tracy, sung by Adam Fox, was another enjoyable moment. Adam brought a confident, jazzy flair to the number, leaning into its rhythmic bounce and sardonic humour. His stage presence was strong, and he handled the phrasing with ease. It was one of the solos that felt fully realised and stylistically appropriate.

“Marry Me a Little” from Company, sung by Ben McCamley, was delivered with emotional sincerity. Ben’s interpretation captured the longing and vulnerability embedded in the song, and his vocal tone suited the material well. Although there were a few moments where the sound balance wavered, his performance remained engaging, and he conveyed the introspective nature of the piece effectively.

Overall, it was a good production with clear potential. The cast demonstrated commitment, and several performers delivered genuinely impressive vocals. However, the technical issues, particularly with sound and lighting, did hinder the overall impact. With more attention to microphone technique, sound balance, and visibility, the production could have reached a higher level of polish. Still, the enthusiasm of the performers and the strength of certain numbers made the evening enjoyable, and it was clear that the society has a strong foundation of talent to build upon.

© NODA CIO. All rights reserved.