REVIEW: Side by Side with Sondheim - A Night at the Musicals

Director: Alex Watson

Musical Director: Michael Keen

Producer: Sophora Cliff

Production Company: A Night At The Musicals Inc.

Photography: By Brit Creative

I stepped into Side by Side with Sondheim knowing I’d need to be switched on. This wasn’t a performance to just sit back and relax. This was Sondheim. Fast, intricate, emotionally layered, and absolutely nonstop musical magic.

Right from the first prelude, with Sondheim’s lyrics woven over one another, the vocals, acting, and musicianship were front and centre, led by their impressive musical director Michael Keen, (who is honestly a magician). When "Merrily We Roll Along" opened with those stunning harmonies, I immediately relaxed into it… before being launched into the lyrical marathon that followed with “Franklin Shepard Inc.” Lachlan Greenland tackled the piece with that signature frantic energy and impressive control.

This show didn’t just skim the surface of Sondheim’s catalogue. Directed by Alex Watson, we moved through Sweeney Todd, Into the Woods, West Side Story, Sunday in the Park with George, Company, Follies, Gypsy and more, pulling out both beloved numbers and some lesser-known gems. I loved that. It felt like an intimate look into the mind of Sondheim rather than a greatest hits concert.

And intimate really was the word. Set in the Underground Theatre at Brisbane Powerhouse, the space wrapped around the performers. Sitting on the side, I occasionally felt like I missed some facial expression in this semi-in-the-round setup, but it was a small trade-off for being so close to the action.

The design leaned into bold, playful colour. The set echoed the show’s poster with bright tones, matched by the dress code, and the lighting design used colour, pattern and spotlights beautifully to keep the visual interest alive. Performers moved through the audience at times via a cheeky little rat run, breaking the space open. Handheld mics and minimal props kept the focus exactly where it should have been, on storytelling.

And what storytelling it was. Sondheim is notoriously unforgiving. The lyrics are fast, the rhythms unpredictable, the harmonies dissonant, and breathing feels like a luxury. I found myself in awe of every single performer and musician up there. Not a whisper of struggle. Just control, clarity, and commitment.

Courtney Monsma was completely captivating. There is something undeniably special about her. A genuine twinkle in her eye, a timeless, old-Hollywood tone to her voice, and an emotional honesty that pulled me in without effort. Her “Being Alive” was one of those moments where the room shifted. She committed to performing to all sides of the audience, fully immersed, and by halfway through I could see the emotion sitting right there on her cheeks. It wasn’t manufactured. It was lived. The song became an epiphany in real time.

Sarah Morrison delivered one of my favourite moments of the night with “Sunday in the Park with George.” Watching her unravel while trying to physically hold a pose was both technically impressive and deeply human. Exactly what Sondheim does best. Renae Suttie brought absolute class to “Send in the Clowns.” It was poised, controlled, and quietly devastating. She then turned around and delivered a sass-filled, razor-sharp “Ladies Who Lunch” dripping with attitude. That contrast was delicious.

James Shaw stood out in his Follies moment, while also leaning into a more unhinged, haughty Sweeney Todd earlier in the night. His presence carried both authority and unpredictability. Erica Wild was clearly having the time of her life as Mrs Lovett, and so were we. Playful, excitable, and brilliantly reactive, especially in “Gotta Get a Gimmick” where she fed off the audience energy with ease.

Jordan Koulos had a lovely moment to shine with a stripped-back “Johanna,” accompanying himself on guitar with a seamless blend of falsetto and belt. There was an ease and sincerity to his performance style that made it particularly engaging. Lachlan Greenland returned later with “Losing My Mind,” delivering the evening’s standout ballad with control and emotional clarity, showing a completely different side to his earlier high-energy work.

The trio of gentlemen in “You Could Drive a Person Crazy,” featuring James Shaw, Lachlan Greenland and Jordan Koulos, was gender-bent brilliance. Slick, funny, with tight doo-wop harmonies and choreography to match. The featured vocal quartet, Paige McKay, Liam J. O’Byrne, Laura Garrick and Josh Whitten, were the glue holding everything together. Their support in harmonies and group numbers was seamless, particularly in the fresh arrangement of “Something’s Coming,” which genuinely gave me goosebumps. Each of them brought strong individual presence while maintaining cohesive ensemble work.

Other moments that stayed with me included the upbeat energy of “Broadway Baby,” the biting wit of “Little Things,” and the sheer endurance required for “The Miller’s Son,” which Courtney powered through like a champion, navigating its relentless lyrics with only the tiniest of hiccups. The full company numbers were where the show really soared. “Side by Side by Side” was a joyful, chaotic celebration, with Courtney’s overwhelmed Bobbie tying it all together, and the finale “Company/Old Friends” brought the house down. A well-earned standing ovation followed.

There were a few audience members who left at interval, seemingly unaware there was a second act, which was a shame, as Act Two held some of the strongest moments of the night.

What I appreciated most about this production was its respect for the material. It didn’t try to overcomplicate or over-style Sondheim. It trusted the performers, the music, and the words. This was a night for musical theatre lovers. For people who enjoy being challenged and surprised. And for me, it was a reminder of just how thrilling Sondheim can be when it’s done this well.