The Non-Singing Star at the Center
The role of Desirée Armfeldt, the wistful, worldly actress at the heart of the show, is now synonymous with Glynis Johns, who won a Tony for her performance. But director Hal Prince and Sondheim initially conceived of the role for a non-singing actress.
Their vision was for a performer who could handle the sophisticated wit of Hugh Wheeler’s book. When they cast Johns, they discovered she possessed a charming, if limited, “small, silvery voice” but couldn't sustain long musical phrases. This unique quality, which another producer might have seen as a deal-breaker, became the catalyst for the show’s most enduring legacy. Instead of replacing her or forcing her into conventional musical numbers, Sondheim did something revolutionary: he adapted his writing to her specific talents.
Writing 'Send in the Clowns'
The show's most famous song, "Send in the Clowns," was a direct result of casting Glynis Johns. Sondheim wrote it for her over a frantic two-day period during rehearsals. He intentionally crafted the song with short, questioning phrases to suit her breathy, crystalline vocal style. "Glynis had a lovely, crystal voice, but sustaining notes was not her thing," Sondheim explained. "I wanted to write short phrases, so I wrote a song full of questions." Had a powerhouse vocalist been cast as Desirée, the song would have been completely different, likely a soaring ballad instead of the regret-filled, conversational masterpiece it became. In fact, before Prince decided the song should be Desirée’s moment of reflection, the creative team assumed the climactic song would belong to the male lead, Fredrik Egerman. The creation of this iconic standard is a testament to how a single, seemingly imperfect casting choice can lead to genius.
The Men in Desirée's Life
Len Cariou and Laurence Guittard delivered Tony-nominated and acclaimed performances as the conflicted lawyer Fredrik Egerman and the pompous dragoon Count Carl-Magnus Malcolm, respectively. Cariou, who would become a Sondheim staple, perfectly embodied Fredrik's mid-life melancholy, a man torn between his child bride and his former flame. It’s difficult to picture anyone else originating the part, yet the road to a perfect cast is rarely a straight line. While specific names of other contenders for the male leads in the original production are lost to the annals of theater lore, the roles have since been filled by a host of distinguished actors in major revivals, including Alexander Hanson and Stephen R. Buntrock as Fredrik, and Aaron Lazar and Bradley Dean as the Count. Each new cast underscores how different the show's dynamic could have been from the start.
The Unforgettable Doyenne and a Saucy Maid
As the imperious, wheelchair-bound Madame Armfeldt, Hermione Gingold created a legendary performance full of dry wit and poignant reflection, especially in her solo number, "Liaisons." Her casting felt preordained, but in the world of theater, nothing is certain until opening night. Similarly, the role of Petra, the flirtatious maid who gets the show-stopping ode to seizing the moment, "The Miller's Son," almost had a different originator. Actress Garn Stephens was initially cast but was replaced during the Boston tryout because she reportedly struggled with the demanding song. D'Jamin Bartlett was brought in and made the role her own, earning acclaim for her spirited performance. These last-minute changes and what-if scenarios are part of the chaotic magic of creating a Broadway show, where a different choice could have altered the texture of the entire production.
