[Passions Take Many Forms] Sondheim's Bounce

I finally bought the Cast Recording of Sondheim’s newest musical, Bounce. The show went through a lot of trials and turmoil, only to be met by audiences and critics in DC and Chicago that were respectfully cool at best. The project was essentially abandoned before plans for a Broadway run could really take flight. The problems with the show primarily centered on the lack-luster story and lack of focus. Audiences didn’t really know where the show was going or what it was trying to say. I got the impression that audiences left asking, “So, what?”

That said, Sondheim’s music and lyrics have been largely praised for its haunting melodies, remarkable themes, and wit. The liner notes compare the recording to the original cast recording of Merrily We Roll Along, another Sondheim show that was largely panned and met an early demise. The comparison isn’t to the actual music, but to the response that it will likely get by people unfamiliar with the show’s struggles:

Few people saw Merrily in that first production, and those who hadn’t, and then listened to its sparkling original cast recording, could not believe that the show had failed on Broadway. Thus began a creative odyssey of many years in which Sondheim and hiss collaborator, the playwright George Furth, would periodically retool their original text in a variety of venues until they achieved a version that has proved both as playable and popular as that original cast album. A similar journey awaits Bounce. [from Bounce liner notes]

I couldn’t agree more, and I honestly hope that this show does acquire a second life over the coming years. This is a great recording of a score that is every bit as good as many of Sondheim’s works. The title song is desperately upbeat, reminiscent of songs like “Everybody’s Got the Right” from Assassins. Songs like “Get Out of My Life” provide the depth of character that often permeates Sondheim shows until they burst through in an explosion of raw emotion, and songs like “Boca Raton” provide the organized chaos that I have come to love about many of Sondheim’s shows. While I can’t say that I absolutely love every song, the show as a whole is intriguing and melodic. The trademark Sondheim wordplays and syncopated rhythms are present, and the cohesiveness of the show, while lost on audiences, does come through on the recording.

I doubt this show will ever be a crowd favorite, but with some minor reworking and a few courageous and adventurous artistic directors, I think the show could find a home among certain playhouses, much like Merrily We Roll Along. Until then, however, this recording will serve as a wonderful reminder of what this show could be and how Stephen Sondheim is still the king of American musical theatre.