Bernadette Peters in Concert – Theatre Royal Drury Lane

Picture: Andrew Eccles

Bernadette Peters in Concert at Theatre Royal Drury Lane, London.

Star rating: five stars ★ ★ ★ ★ ★

What has London done to be so lucky? After decades of very little Bernadette Peters presence at all – a frankly torturous state of affairs – in the last year we have been blessed with a full run in Stephen Sondheim’s Old Friends, the good-hearted madness that is West End Woofs, and now a full solo concert at Theatre Royal Drury Lane.

For her fans, this was a near-religious experience. The pre-show lobby was filled with feverish excitement and once the performance began inside the auditorium, volume levels assumed a binary deafening applause or silent awe. However, with the sense of humour and charm that has made her a star, Peters punctured any potential pretentiousness and delivered a stunning show that demands to be remembered.

As is the case for many other theatre fans, my admiration of Peters developed as I discovered the work of Stephen Sondheim. Not only did she originate two of his most iconic roles in the original casts of Into the Woods and Sunday in the Park With George, but she has also starred in many a revival and tribute concert. A younger me scouring YouTube for any Sondheim content available was presented with pages upon pages of this artist and the reason for this was obvious: she is very special indeed.

In his book Finishing the Hat, Sondheim writes at length about the importance of acting in musical theatre. A great singer isn’t enough when a song must reveal the inner workings of a character and advance the plot: a great actor is required. This is where Peters has always excelled. Her voice is a perfect blend of technically remarkable and distinctively characterful, but it is her ability to fully immerse herself in a musical number emotionally that has earned her reputation as our greatest interpreter of Sondheim’s work.

At this concert, we were blessed with a setlist, more than 50% of which comprised of Sondheim’s work, with songs from shows she has starred in like Into the Woods, A Little Night Music and Follies, to shows we wish we could see her in like Anyone Can Whistle (only a benefit concert appearance so far) and Company. Numbers like ‘No One is Alone’ and ‘Losing My Mind’ have long been knockout standouts of her live setlist, and they did not disappoint. Halfway through, she brought out Old Friends co-stars Joanna Riding and Bonnie Langford for a hilarious rendition of Gypsy’s ‘You Gotta Get a Gimmick’. Some in the audience may have seen  Peters “bump it with a trumpet” at the Gielgud last year, but it was exhilarating to see these three stars reunite and have such fun with the number.

According to Apple Music, my most replayed track from Peters’ repertoire is her ‘Being Alive’ from her 1997 Sondheim, Etc. Carnegie Hall shows. The CD release features a different performance from the video release, and it is one of the most powerful and affecting vocal deliveries I have ever heard. Her voice is absolutely superb and is pushed right up against its limits in the stunningly raw final notes. I had assumed that such a vocally challenging song would have been taken off her setlist all these years later, but hearing it live and in person proves she is still a master of what she does.

This ‘Being Alive’ would have been the most memorable moment of the concert, if it wasn’t followed by a rare performance of ‘Move On’. This song has never failed to move me the many many times I have listened to the original cast recording, and on this occasion, it took on an even greater power as Peters sang Sondheim’s advice and paean to artists everywhere with a delicacy and beauty that was nigh-on profound.

It is a testament to the genius of Sondheim’s work that these songs sound even better with age. Not only have they stood the test of time as the sound of musical theatre has evolved, but as performers gain the wisdom and life experience of advancing years, they can tap into these songs on deeper and deeper levels. Peters’ voice has evolved since her Broadway debut, and she uses her newly robust lower registers to beautiful effect during more intense moments. There are wavers and cracks where she needs them to communicate a character’s inner struggles, but when she chooses to belt, she proves she still has control over the exhilarating power of her higher notes.

Those who attended last year’s Old Friends concerts or have listened to one of her live recordings may have heard some of these interpretations before, but hearing them in-person and in this very special concert is a glorious experience nonetheless. There was also a wonderful smattering of non-Sondheim performances. We were treated to a sensual performance of Eddie Cooley and Otis Blackwell’s ‘Fever’ atop a piano (on a velvet cushion, of course), three Rodgers and Hammerstein numbers, and a pair of songs from Hello, Dolly!, in which she starred to much acclaim on Broadway a few years ago.

Throughout the evening, the band led by Old Friends conductor Alfonso Casado Trigo played sublimely. The arrangements were playful and delicate in places, but as full and powerful as any Wagnerian orchestra when the song called for it. As a particular treat, we also got to witness original Mouseketeer and legend of the American music scene Cubby O’Brien on drums.

After a beautiful and emotional evening, Peters closed with a self-penned tune dedicated to her dog, ‘Kramer’s Song’. This touching lullaby was a perfect end to a glorious concert that the entire audience will remember for a long, long time. For all the gimmicks, fireworks and tricks so often associated with musical theatre, Peters proves that it is great acting and emotional connection that make for the most memorable evenings. Hers is an incredibly special talent. As much as we hope others with similar ability might come along to make the medium of musical theatre as rich as can be, nobody will ever be Bernadette.

Ian Bowkett