Being Alive: Review

I know I’m not alone when I say Stephen Sondheim is my favourite composer of all time. There’s something about the intricacy of his lyrics, the emotional heft behind every bar of music, that just cuts right to the core. So to sit in a room and hear his songs brought to life by some of Australia’s most stunning talent was truly something special.

Directed by Sonya Suares, Being Alive is a celebration of Sondheim’s work that leans into connection, identity, grief, joy, and what it means to keep showing up in an increasingly chaotic world. While not a traditional song cycle or cabaret, the piece threads its own emotional logic across selections from Company, Sunday in the Park with George, Follies, Assassins, Pacific Overtures, Sweeney Todd, and more. It’s an ambitious concept, and one that creates several truly breathtaking moments, even if the overall arc doesn’t always land with total clarity.

There’s no question the performers are top tier. Kala Gare’s voice will, almost without fail, launch me into another dimension. Her vocal control, emotional nuance, and unique tone are spellbinding. Blazey Best brings raw vulnerability and gravitas to the stage and you feel every word she sings in your chest. Lincoln Elliott delivers a warm, grounded energy that offers some much needed lightness and heart throughout, and Raphael Wong, new to me, was an instant standout. His baritone is smooth and deeply expressive, and he brought both strength and softness in equal measure.

John McRae - Raphael Wong, Lincoln Elliott and Kala Gare.

The musical arrangements, crafted by Musical Supervisor Luke Byrne and Musical Director Michael Tyack with instrumental arrangements by Hugo Ceran-Jerusalemy, were absolutely stunning. The band moves seamlessly through Sondheim’s complex rhythms and moods, supporting the performers with precision and warmth. While the arrangements often elevated the material in creative and exciting ways, the chosen songs themselves didn’t always feel like they were serving the emotional arc of the piece. One standout, however, was the disco-infused rendition of Losing My Mind, which brought unexpected energy and flair to an otherwise haunting ballad.

The structure occasionally lost momentum, and at times the story being told felt a little unclear. The piece flirts with abstract ideas of rehearsal, legacy, and the chaos of modern life, but not all of those threads fully landed. It’s definitely a show that speaks the language of the theatre lover, and for those familiar with Sondheim’s body of work, there is a lot to admire. For the general public, however, the messaging may feel more ambiguous.

One of the real standouts of the production was the lighting design by Lucia Haddad. It was subtle but so effective, beautifully enhancing the mood and tone of each number without ever overwhelming the performance. Amy Zhang’s choreography also deserves a nod for finding intimacy and storytelling through movement in what is largely a sung through piece.

Ultimately, Being Alive is a love letter to Sondheim, filled with passion and care from a team clearly devoted to honouring his legacy. While it may not be the most cohesive piece of theatre I’ve seen this year, it offers plenty of emotional resonance, thrilling vocal moments, and a sincere tribute to one of the greatest musical minds of our time. And while the message may have occasionally felt muddied, what stayed with me was clear. To quote Dot from Sunday in the Park

with George:

“Anything you do 

Let it come from you

Then it will be new

Give us more to see.”

3.5 Stars