Sondheim told biographer Meryle Secrest, " I just wanted to study composition, theory, and harmony without the attendant musicology that comes in graduate school.

Sondheim himself insisted that Bernstein told the producers to list Sondheim as the sole lyricist.

Sondheim questioned if he should write only the lyrics for another show, but Hammerstein told him writing for a star would be valuable experience.

After Guare told him about the show, Sondheim agreed to do it.

Lynette Fromme's story is one of nine told in Stephen Sondheim and John Weidman's musical Assassins.

Moore's story is one of nine told in Stephen Sondheim and John Weidman's musical Assassins.

In his interview with Meryle Secrest, Sondheim explained that he was “ what they call an institutionalized child, meaning one who has no contact with any kind of family.

" Babbitt and Sondheim were both fascinated with mathematics and together they studied songs by various composers, especially Jerome Kern.

In an interview, Peters said that Sondheim had " proposed the idea to her this spring and urged the producers of the revival to cast her.

Most biographers blame Lerner's professional decline on the lack of a strong director with whom Lerner could collaborate, as Neil Simon did with Mike Nichols or Stephen Sondheim with Harold Prince ( Moss Hart, who had directed My Fair Lady, died shortly after Camelot opened ).

( 1965 ), for which he had written the lyrics to Richard Rodgers's music, Sondheim decided that he would henceforth work only on projects where he could write both the music and lyrics himself.

These plans also did not work out, and finally Harold Prince, who had worked previously with Sondheim, became the producer and director.

He had agreed to work on The Girls Upstairs if Sondheim would agree to work on Company ; Michael Bennett, the young choreographer of Company, was also brought onto the project.

As an only child of well-to-do parents living in the San Remo on Central Park West, he is described in Meryle Secrest's biography, Stephen Sondheim: A Life, as having had an isolated and emotionally neglected childhood.

When he was 25, Sondheim was introduced to Bernstein, who had heard Saturday Night and quickly hired him to write the lyrics to West Side Story.

At this point, Sondheim had participated in three straight hits.

After completing Evening Primrose, Jerome Robbins had tried to convince Sondheim to adapt Bertolt Brecht's The Measures Taken, but Sondheim admitted that he did not like the play and did not like a lot of his work.

Stuart Ostrow, who had ties with Sondheim with The Girls Upstairs ( later titled Follies ), agreed to produce the musical, now entitled A Play By Brecht ( later titled The Race to Urga ).

The two known songs that had Sondheim contributions are " In There " from the adaption of The Exception and the Rule ( which would later be named The Race to Urga ) and a cut song from West Side Story " Kids Ain't ( Like Everybody Else )".

According to Martin Gottfried, " Sondheim had set out to write traditional songs ...

Pacific Overtures ( 1976 ) had music and lyrics by Sondheim and a book by John Weidman.

Gilbert consented and offered to write the book ; but Sondheim declined, having already had collaborator John Weidman in mind.

Lapine created a " multimedia revue ", formerly titled Sondheim: a Musical Revue, which had been scheduled to premiere in April 2009 at the Alliance Theatre, Atlanta, Georgia.

" Sondheim and Rich had more conversations on January 18, 2009 at Avery Fisher Hall, on February 2, 2009 at the Landmark Theatre, Richmond, Virginia, on February 21, 2009 at the Kimmel Center, Philadelphia, Pennsylvania, and on April 20, 2009 at the University of Akron College of Fine and Applied Arts, EJ Thomas Hall, Akron, Ohio.

Sondheim had an additional " conversation with " Sean Patrick Flahaven ( associate editor of The Sondheim Review ) at the Kravis Center in West Palm Beach, Florida, on February 4, 2009, during which he spoke of many of his songs and shows.

* Sondheim had a guest part on The Simpsons episode " Yokel Chords " as himself ( 2007 ).

The Center opened with performances from seven Broadway performers, including Len Cariou, Liz Callaway, and Richard Kind, all of whom had taken part in the musicals of Sondheim.

According to Sondheim, " Glynis had a lovely, crystal voice, but sustaining notes was not her thing.

In New York, Laurents went to the opening night party for a new play by Ugo Betti, and there he met Sondheim, who had heard that East Side Story, now retitled West Side Story, was back on track.

Gilbert consented and offered to write the book ; but Sondheim declined, having already had collaborator John Weidman in mind.

Eager to work with both Laurents and Sondheim, Angela Lansbury accepted the lead role as Mayoress Cora Hoover Hooper, despite her strong misgivings about the script and her ability to handle the score.

In Four Black Dragons various peasants describe the arrival of the American ships with escalating panic, until finally the nightmarish event does seem to be, as claimed, the end of the world .... Someone in a Tree, is a compact Rashomon-and as fine as anything Mr. Sondheim has written ... The single Act II triumph, Bowler Hat, could well be a V. S. Naipaul tale set to music and illustrated with spare Japanese brushstrokes ... Bowler Hat delivers the point of Pacific Overtures so artfully that the rest of Act II seems superfluous.

A revised version, Sondheim on Sondheim, was produced by the Roundabout Theatre Company and premiered on Broadway at Studio 54 in a limited engagement from March 19, 2010 in previews, opening April 22 through June 13.

In his memoirs, Prince recalled, " Sondheim and Bernstein sat at the piano playing through the music, and soon I was singing along with them.

The musical was part of the Sondheim Celebration at the Kennedy Center, running from July 19, 2002 through August 23, 2002, directed by Eric Schaeffer and starring Judy Kuhn as Fosca, Michael Cerveris as Giorgio and Rebecca Luker as Clara.

In his review of Sondheim's Follies, he wrote " ' Follies ' " is intermissionless and exhausting, an extravaganza that becomes tedious for two simple reasons: Its extravagances have nothing to do with its pebble of a plot ; and the plot, which could be wrapped up in approximately two songs, dawdles through 22 before it declares itself done ... Mr. Sondheim may be too much a man of the seventies, too present-tense sophisticated ... The effort to bind it up inhibits the crackling, open-ended, restlessly varied surges of sound he devised with such distinction for " Company '.

In August 2003, Stephen Sondheim responded to a question about his next project that he was interested in something like a theme and variations — possibly a musical adaptation of Groundhog Day ; however, in a 2008 live chat said that " to make a musical of Groundhog Day would be to gild the lily.

Stephen Sondheim wrote lyrics for the " Night Waltz " theme (" Love Takes Time ") and wrote an entirely new version of " The Glamorous Life ", which has been incorporated into several subsequent productions of the stage musical.

Mr Judge's great innovation is to transform the Liebeslieder Singers from the evening-dressed, after-dinner line-up into 18th century ghosts weaving in and out of the action ... But Mr Judge's other great realisation is that, in Sondheim, the lyrics are not an adornment to a song but their very essence: understand them and the show will flow.

" Sondheim then said of Babbitt, " I am his maverick, his one student who went into the popular arts with all his serious artillery.

Sondheim said of the project, " two people and what goes into their relationship ... We ’ ll write for a couple of months, then have a workshop.

Sondheim converted long passages of dialogue, and sometimes just a simple phrase like " A boy like that would kill your brother ", into lyrics.

As a teenager, Copperfield became fascinated with Broadway and frequently snuck into shows, especially musicals featuring Stephen Sondheim or Bob Fosse.

" both found their way into the Leonard Bernstein and Stephen Sondheim song, " Gee, Officer Krupke!

Garbed as Ant-Man, Lang broke into Cross Technological Enterprises and discovered that Dr. Erica Sondheim, the only person capable of helping his daughter, was being held prisoner.

Ben Brantley, reviewing for the New York Times, wrote: " About halfway into its intermissionless 90 minutes, Little Fish starts to lose its shapely, sharp-edged contours and turn into a sentimental, well, blob ... Mr. LaChiusa ... and Ms. Daniele have done a swell job of fashioning a lively musical about what it means to feel lifeless in contemporary Manhattan ... Like many American musical composers under 50, Mr. LaChiusa is an artistic descendant of Mr. Sondheim, and in many ways Little Fish can be regarded as a direct, latter-day answer to Company.