After three successful Broadway revues showcasing the enchanting music of Stephen Sondheim, one might assume that a fourth iteration would struggle to offer something new or surprising. However, the production titled Old Friends defies such expectations.

This remarkable show initially began as a gala in London, supported by the esteemed composers close friend and producer, Cameron Mackintosh, following Sondheims passing in 2021 at the age of 91. The gala was so well-received that it evolved into a fully-fledged commercial production in 2023, quickly becoming a hit in London, with the legendary Bernadette Peters making her long-awaited West End debut. Naturally, the production was destined for Broadway, Sondheims home turf, where his works have long been celebrated.

In this fresh and engaging Broadway production, which follows its successful run in Los Angeles, Peters again graces the stage, joined by the immensely talented Lea Salonga, adding to an ensemble packed with extraordinary performers. The cast features notable Tony and Olivier winners such as Gavin Lee, Beth Leavel, and Joanna Riding, creating a star-studded affair that promises to be unforgettable.

What sets Old Friends apart from typical revues is its refusal to rely on theatrical gimmicks. Unlike many contemporary productions that incorporate hyper-pixelated screens, flashy special effects, or complex live tracking shots, this show embraces a simpler aesthetic. The productions brilliance lies in its straightforward yet exquisite presentation, carefully curated by Mackintosh, primarily from the Sondheim shows he has produced over the years.

This is not merely a tribute but rather a celebratory feast, one of the most heartfelt and joyous theatrical experiences of the season. The production encompasses a remarkable 40 numbers, primarily showcasing Sondheims greatest hits. True to Sondheims philosophy of writing songs for the characters within his shows, this revue honors that ethos, ensuring that each piece resonates deeply with the audience.

With no enforced narrative thread, Old Friends artfully groups the musical numbers, allowing them to flow seamlessly from one to the next. The staging, orchestrated by Matthew Bourne and choreographed by Stephen Mear, enhances the overall experience. George Reeves projections subtly evoke the atmospheres of Manhattan, Paris, and London, while Matt Kinleys set pieces contribute significant design value to the production, enriching the visual storytelling.

One of the most touching aspects of the production is the presence of the orchestra, comprised of over a dozen musicians, who are positioned prominently on stage. This deliberate choice not only honors Sondheims remarkable compositions but also pays tribute to the orchestrators, arrangers, and music directors who played crucial roles in bringing these works to life. The audience is given the unique opportunity to revel in Sondheims only overture, the captivating Merrily We Roll Along, serving as an entracte that sets the tone for the performance.

Each of the 19 performers shines in their moment of spotlight, with the shows selections enhanced by clever character switches and delightful surprises. A clever twist in Can I Leave You? from Follies sees Lee injecting humor and wit into the iconic number. Peters, who originally played the Witch in Into the Woods, surprises the audience by taking on the role of Little Red Riding Hood, delivering a charming rendition of I Know Things Now, punctuated by a playful reference to the resilience-themed number from Bounce.

Additionally, the song The Little Things You Do Together from Company, traditionally sung by an observer, is comically reinterpreted by an older married couple, portrayed by Lee and Leavel, turning the number into a humorous lived experience rather than a mere commentary.

Transformations extend beyond the songs to the star performers themselves. Salongas portrayal of Mrs. Lovett from Sweeney Todd stands out, her powerful performance alongside Jeremy Secomb, who delivers a stunning rendition as Todd. Even more unforgettable is Salongas commanding performance of Everythings Coming Up Roses from Gypsy, showcasing a vocal prowess and fierce energy that make it a showstopper.

While some Sondheim enthusiasts may express disappointment at the absence of certain songslike those from Assassins or the lesser-known Pacific Overturesthe productions stunning rendition of the Tonight Quintet from West Side Story and the hilariously entertaining You Gotta Get a Gimmick effectively quash any such criticisms.

Further highlights include Leavels empowered performance of The Ladies Who Lunch, where she commands the stage with undeniable charisma, and Joanna Riding, who delivers a flawlessly humorous rendition of Getting Married. Thanks to Mick Potters exceptional sound design, every lyric is crystal clear, allowing the audience to fully appreciate the depth of the performances.

The show also features Bonnie Langford, bringing a wealth of theatrical experience as she performs Im Still Here, even incorporating Sondheims revised stanza for the film Postcards from the Edge. Kate Jennings Grant showcases her talent with The Boy From, a number from the Off-Broadway production The Mad Show, while Peters lends a tender yet fragile touch to Send in the Clowns.

Although the ladies of the cast have significant moments to shine, the men also make their mark. Kyle Selig, Jason Pennycooke, Kevin Earley, and Jacob Dickey each deliver impressive solos, particularly with Seligs soaring performance of Being Alive.

A rare reflective pause arrives when the ensemble brings Georges Seurats iconic painting, A Sunday Afternoon on the Island of La Grande Jatte, to life through a lush rendition of Sunday from Sunday in the Park With George. As the performance builds to its emotional crescendo, Peters, now 77 years old, elegantly steps into the frame, opening her parasol and striking her iconic pose from her original role over 40 years ago. This moment encapsulates not only the celebration of Sondheims legacy but also honors Peters and the many creatives who have contributed to the rich tapestry of Sondheims work. Its a poignant gathering of old friends and, in a way, new friends as well.