⭐⭐ (Two Stars)

Directed by Joe Mantello and with a book by David Ives, Here We Are ambitiously adapts two Luis Buñuel films, The Exterminating Angel and The Discreet Charm of the Bourgeoisie, but despite its glittering cast and sleek production, the result is an incoherent and clearly unfinished show that struggles to earn its place in Stephen Sondheim’s formidable canon.

There are flickers of Sondheim’s brilliance scattered throughout the first act, as a group of out-of-touch elites (including Jane Krakowski, Rory Kinnear, and Jesse Tyler Ferguson) embark on a surreal, fruitless quest for brunch. But even these moments fail to ignite any real momentum. The songs that do exist (Sondheim passed away in 2021 before finishing the score) showcase his signature wit and complexity in frustratingly brief flashes, before the music fades entirely in Act Two.

In fact, Act Two openly acknowledges this absence. In a metatheatrical gesture, the onstage piano dies with Sondheim, as characters solemnly declare, “The piano has died,” and offer it a, “Rest In Peace.” It’s a clever nod, but one that also highlights the gaping hole left behind. From there, the musical becomes a straight play, albeit one burdened with a bizarre, meandering plot where the characters are unable to leave a room. Fourth-wall-breaking antics, like the actors waving at the audience with the house lights up and joking about forgetting lines, add to the chaotic, surreal tone.

The production is undeniably stylish. David Zinn’s set transforms from a minimalist bright white box to an opulent, cluttered chamber with cinematic feel. His costumes are vivid and colourful, popping against the bright white set of Act One, and Natasha Katz’s lighting design is top-tier. The design team is working overtime to elevate a script and structure that can’t quite hold itself together.

Among the star-studded ensemble, Richard Fleeshman delivers a standout performance as an unnamed soldier who immediately falls head over heels with Chumisa Dornford-May’s Fritz, and Tracie Bennett and Denis O’Hare provide much-needed comic relief in a dizzying array of servant roles. Still, even a cast of this calibre can’t smooth over the show’s tonal confusion.

Ultimately, Here We Are feels more like a fascinating postscript to Sondheim’s career than a worthy final chapter. It's a lavish, often bewildering piece of theatre. As a curiosity, it's worth a look: but don’t expect the final masterwork many hoped for.

Here We Are runs at National Theatre Lyttelton until 28th June 2025.

Tickets are available here: https://www.nationaltheatre.org.uk/productions/here-we-are/