Here We Are, legendary composer Stephen Sondheim’s final musical, features a book by Tony Award–nominee David Ives. It is inspired by Luis Buñuel’s filmsThe Discreet Charm of the BourgeoisieandThe Exterminating Angel.Here We Areis directed by Tony Award–winner Joe Mantello. Produced by Tom Kirdahy, its executive producers are Sue Wagner, John Johnson, and Jillian Robbins. Co-presented by The Shed. Performances begin in September 2023.

第一幕

1944年聖誕前夕，軍營裡波比和菲爾正跟所有人預祝聖誕，同時亦為被調職的威弗利將軍送行，可見眾軍士對此軍官之愛戴。("Happy Holiday")在戰爭完畢後，二人憑著歌喉和天份成為百老匯明星。("Happy Holiday/ Let Yourself Go")菲爾抱怨波比不肯替自己找個女友，波比反駁，("Love and the Weather)卻仍被邀請去聽一對姐妹比蒂和茱迪的表演，("Sisters")菲爾與茱迪一拍即合，("The Best Things Happen While You're Dancing")但波比和比蒂卻像火星撞地球。菲爾和茱迪為撮合二人，便設下計劃讓兩對組合都去了維蒙特。中途波比知道經已太遲，菲爾跟眾人笑著解開尷尬("Snow")。

來到維蒙特，他們發現比蒂和茱迪要表演的酒店剛好便是威弗利所僱的，可帳房的瑪花卻告訴他們現在酒店正陷於財政困難。("What can You do With a General?") 波比和菲爾決要助他一把卻又不想損其尊嚴，比蒂和茱迪義不容辭地響應。瑪花揭露自己也能唱能演的才能，("Let me Sing and I'm Happy")而比蒂和波比於此時也在一次波比哄將軍之女蘇珊去之時開始戀上。("Count Your Blessings Instead of Sheep")為了吸引更多人來，波比決定用自己的面子跟同在軍隊裡現為製作人的薩德歷在電視上作廣告，瑪花偷聽了一半誤以為波比實際是想替自己賣廣告，更告訴了比蒂。這事讓二人產生芥蒂，更讓她決定離開。威弗利回來時發現居然有一班人在綵排，頓時傻了眼。("Blue Skies")

第二幕

菲爾與茱迪的綵排不錯，("I Love a Piano")而比蒂離開眾人後去了紐約，茱迪亦極有去意，瑪花感歎愛情的為難。("Falling Out of Love Can be Fun")波比對比蒂的突然離開感奇怪，約同了薩德歷去看她表演，這只加深了比蒂的懷疑。("Love, You didn't Do Right by Me/ How Deep is the Ocean")波比在電視呼籲將軍的舊部去維蒙特共賀聖誕，這時比蒂才知道自己誤會了波比，便火速趕了回去，並得知茱迪和菲爾已經訂婚了。("How Deep is the Ocean (Reprise)")表演當日，威弗利驚訝的發現自己很多舊部都來了，整個地方都擠滿了人。眾人向威弗利唱出了頌歌。("The Old Man")波比帶領他們唱起了聖誕歌，("White Christmas")兩對戀人在後台擁吻後便出來把幕後的背景徹走，把酒店外正在下雪的花園成為最生動的舞台背景。("I've Got my Love to Keep me Warm")

第一幕

1944年聖誕前夕，軍營裡波比和菲爾正跟所有人預祝聖誕，同時亦為被調職的威弗利將軍送行，可見眾軍士對此軍官之愛戴。("Happy Holiday")在戰爭完畢後，二人憑著歌喉和天份成為百老匯明星。("Happy Holiday/ Let Yourself Go")菲爾抱怨波比不肯替自己找個女友，波比反駁，("Love and the Weather)卻仍被邀請去聽一對姐妹比蒂和茱迪的表演，("Sisters")菲爾與茱迪一拍即合，("The Best Things Happen While You're Dancing")但波比和比蒂卻像火星撞地球。菲爾和茱迪為撮合二人，便設下計劃讓兩對組合都去了維蒙特。中途波比知道經已太遲，菲爾跟眾人笑著解開尷尬("Snow")。

來到維蒙特，他們發現比蒂和茱迪要表演的酒店剛好便是威弗利所僱的，可帳房的瑪花卻告訴他們現在酒店正陷於財政困難。("What can You do With a General?") 波比和菲爾決要助他一把卻又不想損其尊嚴，比蒂和茱迪義不容辭地響應。瑪花揭露自己也能唱能演的才能，("Let me Sing and I'm Happy")而比蒂和波比於此時也在一次波比哄將軍之女蘇珊去之時開始戀上。("Count Your Blessings Instead of Sheep")為了吸引更多人來，波比決定用自己的面子跟同在軍隊裡現為製作人的薩德歷在電視上作廣告，瑪花偷聽了一半誤以為波比實際是想替自己賣廣告，更告訴了比蒂。這事讓二人產生芥蒂，更讓她決定離開。威弗利回來時發現居然有一班人在綵排，頓時傻了眼。("Blue Skies")

第二幕

菲爾與茱迪的綵排不錯，("I Love a Piano")而比蒂離開眾人後去了紐約，茱迪亦極有去意，瑪花感歎愛情的為難。("Falling Out of Love Can be Fun")波比對比蒂的突然離開感奇怪，約同了薩德歷去看她表演，這只加深了比蒂的懷疑。("Love, You didn't Do Right by Me/ How Deep is the Ocean")波比在電視呼籲將軍的舊部去維蒙特共賀聖誕，這時比蒂才知道自己誤會了波比，便火速趕了回去，並得知茱迪和菲爾已經訂婚了。("How Deep is the Ocean (Reprise)")表演當日，威弗利驚訝的發現自己很多舊部都來了，整個地方都擠滿了人。眾人向威弗利唱出了頌歌。("The Old Man")波比帶領他們唱起了聖誕歌，("White Christmas")兩對戀人在後台擁吻後便出來把幕後的背景徹走，把酒店外正在下雪的花園成為最生動的舞台背景。("I've Got my Love to Keep me Warm")

第一幕

1944年聖誕前夕，軍營裡波比和菲爾正跟所有人預祝聖誕，同時亦為被調職的威弗利將軍送行，可見眾軍士對此軍官之愛戴。("Happy Holiday")在戰爭完畢後，二人憑著歌喉和天份成為百老匯明星。("Happy Holiday/ Let Yourself Go")菲爾抱怨波比不肯替自己找個女友，波比反駁，("Love and the Weather)卻仍被邀請去聽一對姐妹比蒂和茱迪的表演，("Sisters")菲爾與茱迪一拍即合，("The Best Things Happen While You're Dancing")但波比和比蒂卻像火星撞地球。菲爾和茱迪為撮合二人，便設下計劃讓兩對組合都去了維蒙特。中途波比知道經已太遲，菲爾跟眾人笑著解開尷尬("Snow")。

來到維蒙特，他們發現比蒂和茱迪要表演的酒店剛好便是威弗利所僱的，可帳房的瑪花卻告訴他們現在酒店正陷於財政困難。("What can You do With a General?") 波比和菲爾決要助他一把卻又不想損其尊嚴，比蒂和茱迪義不容辭地響應。瑪花揭露自己也能唱能演的才能，("Let me Sing and I'm Happy")而比蒂和波比於此時也在一次波比哄將軍之女蘇珊去之時開始戀上。("Count Your Blessings Instead of Sheep")為了吸引更多人來，波比決定用自己的面子跟同在軍隊裡現為製作人的薩德歷在電視上作廣告，瑪花偷聽了一半誤以為波比實際是想替自己賣廣告，更告訴了比蒂。這事讓二人產生芥蒂，更讓她決定離開。威弗利回來時發現居然有一班人在綵排，頓時傻了眼。("Blue Skies")

第二幕

菲爾與茱迪的綵排不錯，("I Love a Piano")而比蒂離開眾人後去了紐約，茱迪亦極有去意，瑪花感歎愛情的為難。("Falling Out of Love Can be Fun")波比對比蒂的突然離開感奇怪，約同了薩德歷去看她表演，這只加深了比蒂的懷疑。("Love, You didn't Do Right by Me/ How Deep is the Ocean")波比在電視呼籲將軍的舊部去維蒙特共賀聖誕，這時比蒂才知道自己誤會了波比，便火速趕了回去，並得知茱迪和菲爾已經訂婚了。("How Deep is the Ocean (Reprise)")表演當日，威弗利驚訝的發現自己很多舊部都來了，整個地方都擠滿了人。眾人向威弗利唱出了頌歌。("The Old Man")波比帶領他們唱起了聖誕歌，("White Christmas")兩對戀人在後台擁吻後便出來把幕後的背景徹走，把酒店外正在下雪的花園成為最生動的舞台背景。("I've Got my Love to Keep me Warm")

The writer-director of a new play, an adaptation of the novel which inspired the term Masochism, is on the telephone lamenting the inadequacies of all the actresses who showed up that day to audition for the lead character. Suddenly, at the last minute, a new actress bursts in, the exemplar of every fault he has decried: needy, crude, compliant, desperate. Yet over the next 90 minutes, the balance of power shifts as the actress establishes total dominance over the director, exactly as in the novel.

The writer-director of a new play, an adaptation of the novel which inspired the term Masochism, is on the telephone lamenting the inadequacies of all the actresses who showed up that day to audition for the lead character. Suddenly, at the last minute, a new actress bursts in, the exemplar of every fault he has decried: needy, crude, compliant, desperate. Yet over the next 90 minutes, the balance of power shifts as the actress establishes total dominance over the director, exactly as in the novel.

The writer-director of a new play, an adaptation of the novel which inspired the term Masochism, is on the telephone lamenting the inadequacies of all the actresses who showed up that day to audition for the lead character. Suddenly, at the last minute, a new actress bursts in, the exemplar of every fault he has decried: needy, crude, compliant, desperate. Yet over the next 90 minutes, the balance of power shifts as the actress establishes total dominance over the director, exactly as in the novel.