Stephen Sondheim had the good-bad fortune of coming from a wealthy family living in Bucks County, Pennsylvania. The bad part was that his parents divorced when Sondheim was a child. It was an acrimonious split, leaving a bitter taste in the boy’s life.
Young Neighbor Stephen Sondheim
The good part was that the bright and clever fellow became friendly with a fellow his own age who lived on the next estate. The neighbor boy was the son of Oscar Hammerstein II, then at the pinnacle of his long and prominent career in the American musical theatre. His career by that time spanned nearly forty years, and he had a string of mega-hits. As a librettist-lyricist who came from a distinguished theatrical family, he was considered one of the foremost men in his profession. He liked young Sondheim, and became a near-surrogate father.
With such a close neighbor it was inevitable that Stephen Sondheim would meet various theatrical giants from time to time. This would include the Rodgers family. The Rodgers and Hammerstein empire was preeminent on Broadway: Oklahoma! Carousel, South Pacific, The King and I – all would make theatre history in a space of ten years!
There was no question that young Steve was a bright kid, talented, witty and inquisitive. At his prep school he gravitated to its theatrical activities like a moth to flame. In his senior year at the George School, he wrote the book, music and lyrics to what was considered the best school show they had ever had. (It probably still is!) The local reviews were fantastic. The students, teachers and parents raved at its cleverness, and young Sondheim knew then and there he was destined to pursue musical theatre as a career.
Next Door Mentor, Mr. Hammerstein
With this rousing success under his belt, young Sondheim was encouraged to approach Mr. Hammerstein, his buddy’s friend, and next-door-neighbor, to “read his script.” Hammerstein, being a kindly man as well as a good neighbor, readily agreed. “And read it as if it were from a total stranger,” Sondheim said, knowing that he wanted no padded-favors. Hammerstein assured the teenager he would do just that. Sondheim left, his heart soaring, because he felt sure that Hammerstein would love it as much as his schoolmates and teachers. He even pictured himself as the youngest person to have a show produced on Broadway – by Rodgers and Hammerstein, no less!
A short while later, true to his word, Oscar Hammerstein called Sondheim and invited him over. He asked the boy up to his private office – just the two of them. Steve was no fool. He knew his show probably needed some tweaking, and was prepared for some constructive criticism and suggestions, particularly from such an esteemed colleague.
The Lesson
Hammerstein said he did just what Sondheim had asked: he read the script as if it had come from a complete stranger. Then he went on to say, “This is the worst script he had ever read.” Sondheim was crushed. “But,” Hammerstein continued, “it is not without talent.”
That statement alone is one of the most heartening comments a young anything can receive. And, of course, considering who was saying it to whom, it was a mega-understatement. Sondheim had talent in an extraordinary degree. Even better, he had great intelligence.
It is said that a good student deserves a good teacher; an exceptional student deserves an exceptional teacher. In this case, it was like a conjunction of the planets.
For the next two hours (the most valuable of his life, according to Sondheim) Hammerstein reviewed the script scene by scene, page by page, song by song, and sometimes line by line. He told Steve what worked, what didn’t, and most importantly, why.
Then Hammerstein outlined a course of self-study and self-imposed exercises for the budding composer-lyricist to follow over the next four years. Sondheim was preparing to enter Williams College – but nobody taught songwriting. Music yes, but not songwriting. That was a seat-of-the-pants profession.
The Investment
Of course the rest is history. Stephen Sondheim’s subsequent career has spanned more than a half-century, replete with titles like West Side Story, Gypsy, A Funny Thing Happened on the Way to the Forum, Company, A Little Night Music, Follies, Sweeney Todd, etc., etc. all sparkling with the indelible Sondheim wit and intellect. The list of awards is legion.
Oscar Hammerstein II lived to see Stephen Sondheim’s success in West Side Story and Gypsy before he died. Hammerstein was a wealthy man and had made many investments over his own long career. But the two hour investment he made in mentoring a young theatrical genius was easily the best, and certainly most durable one he ever made. It also produced the best dividends.
Perhaps learning even more intangibles from Mr. Hammerstein, Sondheim has never failed to mentor and encourage young talent whenever he can.
Sources:
- http://www.broadway.tv/broadway-features-reviews/broadway_mentor
- Secrest, Meryle – Stephen Sondheim A Life, 1998, Alfred A. Knopf
Feather Schwartz Foster - Feather Schwartz Foster, author-historian. Making the First Ladies come to life.
