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way stage, brought her to a career pinnacle in the 1979 “Sweeney Todd” and has even served her in her dizzyingly active golden years. It would probably come as a shock to no one if her latest Sondheim assignment, as a cyn- ical dowager recounting her amo- rous conquests in the current re- vival of “A Little Night Music,” earned her yet another nomina- tion at Tony time. In the meantime, she is about
to pick up another honor related to her career in musicals, an award named for Sondheim and given out by Signature Theatre at its annual gala, taking place Mon- day night in Washington. Lans- bury will be in the rotunda of the Italian Embassy to accept it, alongside the accolade’s name- sake, who received the first Sond- heim Award last year. Marin Maz- zie, a star of Sondheim’s “Passion,” and Victor Garber (the original Anthony, the sailor, in “Sweeney Todd”) will be among the per-
“MASTERFUL..”
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JOAN MARCUS
HIGH NOTES: Lansbury, left, stars with Catherine Zeta-Jones and Keaton Whittaker in the revival of “A Little Night Music.”
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“‘The Greatest’ takes a piece out of you! A riveting cast plays it for real. Mulligan is wonderfully appealing. Sarandon nails every nuance.”
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says, of being first in line behind Sondheim for the recognition. “There are many others who are doing his work, who are so closely associated with him. For nothing else, that’s meaningful. And, of course, there’s the fact that I start- ed off with him.” In the pantheon of originators of roles in musicals with Sond- heim scores, Lansbury has a spot in the front ranks, alongside Ber- nadette Peters, Elaine Stritch, Len Cariou, Mandy Patinkin, Glynis Johns and Zero Mostel. In addi- tion to playing Cora, the corrupt small-town mayor of “Anyone Can Whistle” — which closed after nine performances and which, in- cidentally, was revived this week- end by Encores!, the musicals-in- concert series — Lansbury won a Tony for her work as Mrs. Lovett, Sweeney Todd’s eminently practi- cal partner in cuisine-inspired homicide. Lansbury’s turn as Ma- dame Armfeldt in the current re- vival of “Night Music,” co-starring
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Catherine Zeta-Jones, has earned her across-the-board plaudits. And of course, she made a cel- ebrated splash as Mama Rose in a 1974 revival of “Gypsy,” for which Sondheim wrote the lyrics to Jule Styne’s music. You wouldn’t call her a chan- teuse. And yet Lansbury has built one of the most impressive galler- ies of characters in the history of musicals; she originated the title role, too, in Jerry Herman’s “Mame.” Talking to her about her hits and her misses, you hear nothing about insecurity, no sense that the gear-shifting re- quired to survive on Broadway took a toll. “I had a natural sing- ing voice,” she says, matter-of- factly. Transforming herself into a singing star “was just training. And figuring out how loud I had to be to be heard over the orches- tra.” Her stereo, behind a couch cov- ered with stuffed animals — fans shower her with them, as if she were a figure skater — is tuned to classical, and Lansbury, in a pair of dark slacks, is trying to explain how she managed to make the transitions from movies to musi- cals to television and back again, when so many other actors went into eclipse. Mention, for in- stance, a onetime co-star of hers on the stage who seemed to sim- ply drift away, and she shoots you a look of bafflement. “What you have to accept with me is, I would do whatever inter- ested me to attempt; it’s the feel- ing of, ‘I would love to pull that off,’ ” she says. “I’m also tickled and I’m proud that somebody would think that I could do a cer- tain thing, and then would give me a chance. That has happened over and over and over again. That has given me confidence — that they believed I’d give them something that they wanted.” The process of corralling Lans-
bury for Sondheim projects began with “Anyone Can Whistle,” an ab- surdist musical about nonconfor- mity, with one of the great unsung Sondheim scores. After the smash success of “Mame,” Lansbury says, it was Laurents and Sond- heim conveying their belief in her that persuaded her to take on Ma- ma Rose, 15 years after Merman had put a brassy stamp on the part.
And it was a similar sort of en-
treaty from director Hal Prince later in the ’70s that led her to “Sweeney.” A telegram from Prince came “in the middle of the night” to her in Ireland, where she has long maintained a home. “It said,” she recalls, “ ‘Dear Ange- la, Steve Sondheim, [book writer] Hugh Wheeler and I are prepar- ing a production of “Sweeney Todd, the Demon Barber of Fleet Street.” We would be interested to know if you would be interested in reading for the role of Nellie Lovett.’
“I sent a telegram back, saying,
‘Was it the story of Sweeney Todd, or the story of Nellie Lovett?’ ” When she got to New York, she went to see Sondheim, who sang for her the song that introduces Mrs. Lovett to the audience, “The Worst Pies in London,” a number with both intricate rhythms and a series of elaborate physical moves tied to the syncopation. “I thought, this is something I’d have a lot of fun doing.” The assignment was daunting: summoning the range for that score, perhaps Sondheim’s finest. “When I hear the recording, I think, ‘How the hell did I do that?’ ” she says, laughing. “It is absolutely the innate so- phistication of his words. I think lyrics are so important: They’re the messengers. And Steve uses them with such care, with such thought. I hear it every night: ‘Ev- ery day a little death,’ ” she says, reciting a famous lyric from “Night Music.” “It’s miraculous.”
marksp@washpost.com
ON WASHINGTONPOST.COM
Relive some of Angela
Lansbury’s career highlights with our photo gallery at washingtonpost.com/theater.
SUNDAY, APRIL 11, 2010
Angela Lansbury to receive Sondheim Award
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