Described by the New York Times as “one of Sondheim’s deepest-hearted yet lightest-touch interpreters”, MELISSA ERRICO will be performing her Sondheim in the City concert at London’s Cadogan Hall on 12 July 2025.

Melissa is a true Broadway leading lady having starred in My Fair Lady, High Society, Anna Karenina, White Christmas, Dracula and Les Misérables, and was nominated for a Tony Award for Best Actress in Michel Legrand’s Amour.

She worked with Stephen Sondheim on productions of Sunday in the Park With George (Dot) at The Kennedy Center, John Doyle’s hit New York production of Passion (Clara) and Do I Hear a Waltz? (Leona) at City Center. She also played the Baker’s Wife in a concert run of Into the Woods. Her latest album, which spawned this concert, is Sondheim in the City (Concord) – Melissa’s kaleidoscopic vision of Sondheim’s songs of urban life. Musical Theatre Review critic Patrick Honoré wrote of the recording: “It evokes the intentions of the great master, who wouldn’t have wanted the album to turn out any other way.”

Here Melissa Errico continues Musical Theatre Review’s interview series: Five Questions With…

Welcome back, Melissa! It’s a year since we last saw you in that wonderful set with that force of nature Isabelle Georges at Crazy Coqs. What have you been doing since and have you had to opportunity to team up again with La Georges in the USA?

I’ve been doing the usual mad run of shows: big concerts, small concerts, symphony concerts, jazz trio concerts – the works. My last album, Sondheim in the City, of course, has been at  the centre of my work, and I’ve been singing from it and around it. But I also took on a big show about the First World War to be staged in Washington, and that was an enormous task, involving research, writing, choosing beautiful and moving songs from that era, and even having a ‘doughboy’ costume made for me by the great designer Eric Winterling.

It seemed to go very well when we, at last, debuted it in Washington this spring, and it should soon be travelling elsewhere. It was an overwhelming obligation, not least because I felt the need to honour the incredible loss of the soldiers and their families in that time, while still offering a show that was full of frolic and fun. I think we pulled it off – the big number at the end was an adaptation of Siegried Sassoon’s great armistice poem ‘Everyone Sang’, with new music by my musical director Tedd Firth. It was a highlight of my career, and I hope – I think!—for the audience.

As to Isabelle, well, she’s my star-sister, and I know more collaborations with her, in Paris and New York, are bound to happen.  We’re fated to be together, under the star of my (and her) other great musical mentor, Michel Legrand.