Review: HERE WE ARE, National Theatre

Photo credit: Marc Brenner

There’s something undeniably fascinating about Here We Are, the final musical from Stephen Sondheim. Staged in the National Theatre’s Lyttelton, this posthumous piece is more of an experience than a traditional musical – surreal, absurd, and knowingly disjointed, but rich in theatrical ambition and intellectual provocation.

Loosely inspired by two films from Luis Buñuel – The Discreet Charm of the Bourgeoisie and The Exterminating Angel – the show follows a group of upper-class friends through a sequence of failed meals and existential unravelling. It’s a sharp satire on class and privilege, wrapped in surrealist chaos and theatrical flair. But while the concept intrigues, the delivery doesn’t always land with consistency.

One of the biggest issues is the balance of sound. During spoken dialogue, it is often difficult to hear clearly over the underscore, which impacts the clarity of the storytelling. That said, during musical numbers, the mix improves significantly, and Sondheim’s masterfully crafted lyrics – witty, wordy, and unmistakably his – shine through.

The lack of songs in the second half is noticeable. With such strong material in the first act, the musical momentum loses its grip post-interval. The shift away from music affects the pacing and rhythm, making the second half feel sparse, even if thematically it remains bold.

With a cast of this calibre, expectations are naturally high, and the ensemble absolutely deliver. There’s a sense of cohesion and commitment that helps ground even the most bizarre scenes. Special mention must go to Denis O’Hare and Tracie Bennett as ‘Man’ and ‘Woman’ – their multiple turns as waiters and servants bring sharp comedic timing and real variety. Numbers such as ‘Waiters’ Song’ at Café Everything give them a chance to fully embrace the eccentricity of the world and show off their comedic abilities to full effect.

The set design is another highlight. The Lyttelton’s stage is cleverly divided and manipulated, allowing for seamless transitions while maintaining the surreal atmosphere. Sets glide forward as needed, helping to guide the story without ever halting the action – it is inventive, dynamic and serves the piece well.

As a work, Here We Are embraces absurdity knowingly, but the link between the two acts feels tenuous. While the first half is full of satirical spark and musical verve, the second half becomes more static and abstract, and the connection between the two doesn’t quite land. There are powerful ideas bubbling beneath – questions of societal illusion, identity, and control – but you are left wondering what else might have been explored had Sondheim had more time to complete the score to guide the story.

An ambitious and thought-provoking production elevated by a first-rate cast and striking design. Though uneven and at times perplexing, it’s a bold farewell from a master of the form.

*** Three stars

Reviewed by: Frances Tate

Here We Are plays in the National Theatre’s Lyttelton until 28 June, with further info here.