(Michael Billington’s article appeared 10/7 in the Guardian.)

Productions of Sondheim's dark masterpiece tend to oscillate between a quasi-industrial vastness and a psychologically revealing intimacy. The great quality of Jonathan Kent's superb revival is that it has elements of both. Anthony Ward's design, with its circular gallery filled with gaping windows, evokes the seething activity of a dilapidated, working-class London. But, while providing a portrait of a society that is more early-20th century than mid-Victorian, there is an intense focus on individuals.


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