Sondheim's Strippers, Courtesans, and Whores: Is Everything Transactional?
How The Master used sex work to show "man devouring man, my dear"
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) an essay about Sondheim’s use of characters who are sex workers to suggest that all human relationships are transactional ; B) a Broadway Maven YouTube GEM about an uptempo number from Guys and Dolls; C) a Student Review of Cult of Love (a currently running Broadway play); D) a Broadway Blast about Hairspray; E) video homework about The Book of Mormon and CATS; and F) a Last Blast about Kiss Me, Kate.
ESSAY: Stephen Sondheim's musicals are full of unforgettable men and women: lonely bachelors, ambitious artists, and vengeful barbers. But some of his most revealing characters are the ones who use their bodies commercially —strippers, courtesans, prostitutes. Why does Sondheim return to sex work so often in his musicals? Perhaps it's because these characters allow him to explore a much bigger idea: that human relationships are transactional, whether we admit it or not.
Take A Funny Thing Happened on the Way to the Forum. The women of the House of Lycus are treated as objects to be bought and sold. The show is a comedy, so the tone tries to be light, but it forces us to confront an uncomfortable truth: the commodification of intimacy is literally an ancient practice. Of course, Pseudolus's negotiations with Hero for his freedom also point to the financial aspect of human interaction.
Then there’s Madame Armfeldt in A Little Night Music. In “Liaisons,” she reflects on her past as a courtesan, turning romantic and sexual connections into wealth and power. She’s not ashamed of it—in fact, she’s nostalgic for a world where relationships were clear-cut transactions. Her song is wistful, but it’s also sharp, reminding us that even love and connection can come with, well, a price. The central relationship in the show, between Desiree and Fredrik, also carries echoes of transactionality, with each lover as interested in scoring points in the relationship as in creating a genuine connection.
Gypsy brings this theme to the stage—literally. The strippers who sing "You Gotta Have a Gimmick" toward the end of the show use their unique acts to stand out and market themselves, creating personas like Mazeppa, Electra, and Tessie Tura to attract attention and money. Meanwhile, Louise’s transformation into Gypsy Rose Lee is a masterclass in understanding that selling yourself is often about branding and performance. Gypsy's rise isn’t just about survival—it’s about mastering the game of transaction, making it work to her advantage.
Sweeney Todd presents a much darker view of sex work. Sweeney's long-lost wife Lucy Barker, stripped of dignity and hope, becomes a street prostitute in a world where survival is the only goal. Her fate, with its bald come-ons and crude blandishments, is a bleak counterpoint to Sondheim’s more humorous or nostalgic portrayals of transactional relationships. It’s a reminder of what happens when human connection is reduced to desperation.
Even shows without explicit sex work engage with these themes, which suggests Sondheim uses his "ladies of the evening" to illustrate a broader concern in his work –– rather than just a comment on prostitution per se. In Sunday in the Park with George, the song “Putting It Together” explores the compromises artists must make to succeed. "Contemporary" George must balance his artistic vision with the need to please patrons, turning creativity into commerce. Similarly, Merrily We Roll Along examines the personal cost of ambition. In the song “Franklin Shepard, Inc.,” Franklin’s rise to success is speckled with the transactional choices that fracture his friendships and betray his beliefs.
Even the fanciful Into the Woods explores transactional relationships in unexpected ways. The Baker and his wife, desperate to have a child, strike a deal with the Witch, who declares: "You wish to have the curse reversed? I'll need a certain potion first." This seemingly straightforward transaction—exchanging magical items for fertility—carries immense emotional weight, as the characters make moral compromises and sacrifices to fulfill their desires. The Witch, too, seeks her own reward: restored youth and beauty, showing that even in a fairy-tale world, human relationships often hinge on negotiation and exchange.
Sondheim’s portrayal of transactional relationships doesn’t offer easy answers or moral judgments. Instead, his work reveals the humanity behind each exchange, whether it’s Gypsy Rose Lee embracing her power, Madame Armfeldt reminiscing on her past, or Lucy Barker losing everything. In Sondheim’s musicals, even transactions are deeply human.
BROADWAY MAVEN YouTube GEM: "Sit Down, You're Rocking the Boat" from Guys and Dolls is one of the most high-energy upbeat numbers in the Broadway canon. Here are seven men playing Nicely-Nicely Johnson singing the song. Which do you think did the best job? Explain your answers in the comments.
STUDENT REVIEW: Cult of Love is the latest work by playwright Leslye Headland, about the Dahl Family’s annual Christmas reunion: two parents, four children (with varying levels of estrangement), and their respective partners.
Headland takes up the task of balancing the resentment within this family, with the desire to maintain peace during their one night of the year together. The arguments among the main family stem from many things, notably homophobia, religious intolerance, drug addiction, mental illness, and the inability to confront any of them. Where Headland shines best, however, is in her ability to portray the children’s desperation to keep the family together despite this tense situation, as seen when they break out into song, making everything feel deceptively sweet, occasionally.
More tension is added to the family with the children’s partners, who respond to the Dahl Family in different ways. To Johnny’s friend Loren, a Christmas with the Dahls is comparatively better than any of her other options. Mark’s wife Rachel, however, has been tired of the family for a long time, and wants her husband to finally stop feeling obligated to fix all their problems.
With these characters, Headland efficiently leaves the audience to grapple with an uncomfortable truth: sometimes people are tempted to cling to parts of their past for fear of losing it, however illogical it may be to do so. Now through February 2 at Broadway's Hayes Theatre. –Tatiana Atehortua, Maven Scholar Fall '24.
BROADWAY BLAST: The music in Hairspray celebrates the diversity of 1960s styles, with each character’s personality and background reflected in their songs. Tracy’s bubblegum pop numbers mirror her bright, idealistic nature, while gospel and Motown influences in songs like “Run and Tell That” and “I Know Where I’ve Been” reflect the strength, hope, and deeper struggles of Maybelle, Seaweed, and the Black community. This contrast enriches the show’s theme of breaking down barriers and finding unity through music and mutual understanding.
MEMBERSHIP: Broadway Maven Membership is just $18 a month and includes 5-15 classes and other expert-led Broadway experiences, plus a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening-night performance and party. Upcoming Members-only classes include CATS; The Book of Mormon; a “Savoring Broadway” presentation, a Watch Party for A Gentleman’s Guide to Love and Murder in which we watch it with the man who won a Tony for writing it: Robert L. Freedman, and four Sondheim classes led by Gail Leondar-Wright. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
Members-only class on CATS Monday, January 20 at Noon and 7 pm ET:
Dive into the enchanting world of Andrew Lloyd Webber's CATS, a musical masterpiece based on T.S. Eliot's Old Possum's Book of Practical Cats. This class explores the musical’s timeless themes, iconic characters like Grizabella and Old Deuteronomy, and its revolutionary use of dance, costume, and stage design. Students will analyze its famous songs, including "Memory," and examine how the show has captivated audiences worldwide. Perfect for anyone interested in musical theater, choreography, or the cultural impact of one of Broadway’s longest-running shows.
Members-only class on The Book of Mormon Tuesday, January 21 at Noon and 7 pm ET:
Explore the witty and satirical world of The Book of Mormon, the Tony Award-winning musical by Trey Parker, Robert Lopez, and Matt Stone. This class unpacks the story of two young missionaries as they navigate faith, friendship, and cultural differences in a Ugandan village. Through its irreverent humor and heartfelt moments, students will analyze its commentary on religion, Western perspectives, and the human experience. Discussions will include its controversial themes, catchy musical numbers, and the impact it has had on modern musical theater.
HOMEWORK: Is it more than a mocking, naughty farce? For Tuesday's class on The Book of Mormon, watch this video essay that suggests a serious theme in a seemingly silly show. Do you agree or disagree? Explain your answer in the comments.
Also, this video can help you prepare for Monday’s class on CATS:
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Monday, January 20 Noon and 7 pm ET CATS (Members only)
• Tuesday, January 21 Noon and 7 pm ET The Book of Mormon (Members only)
• Sunday, January 26 Noon and 7 pm ET “Savoring Broadway” presentation (Members only)
• Sunday, February 2 Noon ET Watch Party: A Gentleman’s Guide to Love and Murder with SPECIAL GUEST Tony-winning book writer Robert L. Freedman (yeah, we’re watching it with the guy who wrote it). (Members only)
• Monday, February 3 Noon and 7 pm ET Jesus Christ Superstar (FREE, Registration coming soon)
• Tuesday, February 4 7 pm ET Sondheim Under the Hood part one with Gail Leondar-Wright (Members only)
• Tuesday, February 11 7 pm ET Sondheim Under the Hood part two with Gail Leondar-Wright (Members only)
• Sunday, February 16 10 am ET “Hamilton: From the Top” with Juilliard Prof. Edward Barnes (Members only)
• Tuesday, February 18 7 pm ET Follies with Gail Leondar-Wright (Members only)
• Tuesday, February 25 7 pm ET Road Show with Gail Leondar-Wright (Members only)
LAST BLAST: In Kiss Me, Kate, the Shakespearean characters sing lines peppered with words like "democracy" and "Chicago," which feel jarringly modern in the context of The Taming of the Shrew. This anachronistic language not only generates humor but serves a thematic purpose: it highlights the merging of past and present, blending classical material with 20th-century sensibilities. Cole Porter’s playful use of these modern words in a Shakespearean setting underscores the timelessness of theatrical archetypes while poking fun at the conventions of both old and new. By bridging these eras, Kiss Me, Kate suggests that human foibles—whether in love or ego—transcend time, allowing us to see a bit of ourselves in characters from centuries past.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.