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You can see the regret streak across his face. In a 1988 interview with 60 Minutes, Sondheim was asked if he would have liked to have children. Here's to the ladies who lunch: one of Sondheim's greatest achievements was writing complex women I cried on the phone to a longtime collaborator, because it is hard to explain to anyone outside our community: it feels so unbelievably personal. The grief within the theatre community is like an electric current. Many people all over the world are experiencing a profound sense of loss. When you spend a decade inside someoneвЂ™s works diving deeper and deeper into different worlds and myriad complex ideas, it is an incredibly intimate relationship. I didnвЂ™t expect it to hit me as hard as it has. It is a strange and disorienting thing to grieve for a person youвЂ™ve never met. DotвЂ™s choice extends horizontally across the axis of time: she lives on in the generations that follow her. George chooses a vertical eternity: he dedicates himself to вЂњfinishing the hatвЂќ so his experimental masterpiece may be suspended forever in a gallery. Her choice is what propels us into act two. She makes a stunningly difficult decision to prioritise a future for their child. But Dot, his lover and muse, is equally important. Often, people approach this musical as if it is all about George, the auteur-artiste. In 2019, I was lucky enough to co-direct Sunday in the Park with George (1983) with Dean Drieberg and an extraordinary team. In a twist of fate, we programmed Into the Woods, a story about a motley collection of characters who must band together to confront an existential crisis, in 2020. We staged Company (1970), a musical about relationships and intimacy, during the national marriage equality debate. Watch This/Jodie Hutchinson, Author provided

In inviting an audience to see a Sondheim show, I always try to be clear-eyed about how it speaks to us here and now. It was a singularly daunting thing to set my cap at realising such a weighty body of work with an independent company and all the constraints that entails. It staggered me Australia didnвЂ™t have one. In 2011, I embark on the project of establishing a Sondheim repertory company Watch This. I lean on SondheimвЂ™s music and lyrics to convey this difficult truth to my children. Sometimes life rolls you into a ditch and you just have to lie there until you can crawl out. We spend mornings dancing around and singing along: When a once-in-a-lifetime pandemic has us all locked inside our homes, I play SondheimвЂ™s incredible overture and soundtrack for my kids. It is a show I revisit over and over as an artist, including with the company I founded, Watch This, in 2017. вЂњHow will it all unfold for us?вЂќ, we canвЂ™t help but wonder. I am 26 and we are performing Merrily We Roll Along (1981) for our final production at drama school.

Not only does it frame my understanding of theatre, it shapes the way I think about the human condition. It resonates deeply with me as a passionate and bewildered teenager aching for guidance. I learn theatre can be playful and cerebral and ironic and emotionally compelling all at once. GettyДЄt 16, I see a live performance of Into The Woods (1986). Stephen Sondheim was a titan of the American musical.

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