Review: Summoning Sondheim, Fringe 2024

In this séance, I think we came close to sacrificing Neil Patrick Harris. The backs of the many children of Sondheim blocked my line of sight.

I had a rubbish seat at the back of the attic in The Mash House and could barely see much of Summoning Sondheim. Fortunately, this musical comedy is three-fifths an audio experience, and some of the rest is done through inference that feels appropriate for a séance.

I really enjoyed Summoning Sondheim. I liked the songs, the energy, and the plot, but I was blown away by the acting. I was expecting only the songs.

Credit then to Grace O’Keefe and Jordana Belaiche for making this musical drama and bringing it to life so expertly. Both already have impressive careers and I think even more success is due. I also note Bel Parker, who co-created and directed the shenanigans.

One regret, though, not doing any Stephen Sondheim research before the show. I thought I knew. He’s the guy who did West Side Story and many others. Sondheim is one/the big hitter in American Musical Theatre in the last 100 years. There are some soundbites in Summoning Sondheim, and I’m not sure they’re all %100 flattering – especially comments about women writers in musical theatre. Are there Sondheim controversies?

Tone

Summoning Sondheim is either a long-form narrative comedy or a long-form musical comedy. It’s not just a comedy or a straightforward musical.

The premise is as you’d expect: Grace and Jordana set out to do a séance with a medium, summon the writer’s spirit, ask questions and find meaning in their Sondeim-devoted lives. 

Things go wrong from the start and lead hilariously to madcap antics, songs and plenty of audience participation.

It’s a 12+ rated show but does have references to sexual violence.

Is Summoning Sondheim a scary séance? No, some in the audience had one jump scare, but for the most part, this is a madcap and somewhat frantic comedy.

What to expect

Expect audience participation right from the start, starting with a chant. The show will continue from there but focus more on one or two audience members.

Summoning Sondheim is a comedy wrapped around a musical, and it’s a musical for a modern audience.

For the most part there’s only Grace and Jordana up front on the stage but they’ll absolutely hold your attention. The exception is when a guest is brought on, which I always have mixed feelings about and will certainly depend on the guest. The guest will almost certainly be someone with a Fringe show the Summoning Sondheim team wants to promote, but it will be hard for anyone to walk into the charming chaos and maintain that energy.

However, even a bad guest experience is over quickly and buys essential time for the next part of the Summoning Sondheim experience to get ready.

There’s education here, and as I’ve noted, I wonder whether I need to revise what I thought I knew. Either way, it’ll help greatly to have some idea of who Summoning Sondheim is and perhaps to be able to recognise some of his most famous songs.

Overall

Summoning Sondheim is welcome dark magic. Magic in that I can’t figure out the science of why this works but it does. The mix of ingredients feels just about spot on and conjures up something greater than the parts might suggest. Dark, only occasionally, because there are some adult references and a bit of theatrical tension.

As I can evidence, it’s not the end of the world if you’re a shortarse like me at the back of the room and can’t see clearly, but I imagine it’ll help to get a better seat. I’d get upstairs sooner if I had another chance. Equally, I wouldn’t make Summoning Sondheim a post-pub Fringe show. I’d make it a pre-dinner one.

I hope the troupe, The Queens of Cups, returns to Edinburgh next year because I’d be up to see their next project.