Guardian Hearts Big Steve

In an editorial, no less, and on the occasion of his lifetime achievement award from the Critic’s Circle:

“Sondheim's radicalism and lyrical ingenuity have often been appreciated more in Britain than at home” 

 That would be why they named a theatre after him.

“His work has been staged by the Royal Opera, ENO and the National Theatre; he's been the subject of a Prom; he's twice been Radio 3's Composer of the Week” 

I’ve said it before and I’ll say it again. I think this is the significance of Sondheim (at least in this country): he’s taken musicals upmarket.

“If we have embraced Sondheim's work, it is because he experiments within a popular tradition…” 

Although his experiments wound up turning a popular tradition into a far less popular one. By the time of Assassins he couldn’t get produced on Broadway.

“…and accepts that the function of art is to challenge and stimulate, not soothe and reassure” 

Art isn’t easy. Especially for Americans. 

By the way, what's with the “composer-lyricist” designation? I always thought he was a songwriter.

It's like when those new-fangled choreographer fellas started appearing on the Broadway billboards. Irving Berlin, for one, wasn't impressed:

“Chicks that did kicks aren’t doing kicks any more
They’re doing choreography” 

So it seems:

“Johns who wrote songs aren’t writing songs any more
They’re composer-lyricists”

At least it'll keep the editorialists happy.