Sondheim collaborated with George Furth (book) and Harold Prince (director) to create Company, the first of the Sondheim/Prince shows that were to lay the foundation for the post-Golden Age Broadway musicals. Company was the first non-linear, "concept," musical.
Set firmly in, and often about, New York, Company follows five married, once married, or soon to be married couples and their mutual friend, Robert, a 35 year old bachelor who has been unable to connect in a long-term relationship. The relationships are presented in a series of vignettes, primarily through Bobby's eyes, so that we see the less than ideal aspects of commitment. However, it is obvious to the audience that the committed are happy. Eventually, Bobby learns that while relationships aren't perfect, they are a necessary part of "Being Alive."
Includes the songs "Getting Married Today," "The Ladies Who Lunch," and "Being Alive."
Show Data
- Original Broadway Production Info
- Cast
- Musical Numbers
- Cut Songs
- Added Songs
- London Revival Production Info
- Cast
- Added Songs
- Recordings
- Awards
- Production Rights
- Articles
Original Broadway Production Info:
| Opened | April 26, 1970 |
| Closed | January 1, 1972 |
| Ran | 690 Performances |
| Theatre | Alvin Theatre |
| Music | Stephen Sondheim |
| Lyrics | Stephen Sondheim |
| Book | George Furth |
| Producers | Harold Prince |
| in association with Ruth Mitchell | |
| Director | Harold Prince |
| Musical Staging | Michael Bennett |
| Set Designer | Boris Aronson |
| Projection Designer | Boris Aronson |
| Costume Designer | D.D. Ryan |
| Lighting Designer | Robert Ornbo |
| Dance Music Arranger | Wally Harper |
| Music Publisher | Tommy Valando |
| Musical Direction | Harold Hastings |
| Orchestrations | Jonathan Tunick |
Musical Numbers:
| Robert | Dean Jones |
| Sarah | Barbara Barrie |
| Harry | Charles Kimbrough |
| Susan | Merle Louise |
| Peter | John Cunningham |
| Jenny | Teri Ralston |
| David | George Coe |
| Amy | Beth Howland |
| Paul | Steve Elmore |
| Joanne | Elaine Stritch |
| Larry | Charles Braswell |
| Marta | Pamela Myers |
| Kathy | Donna McKechnie |
| April | Susan Browning |
| The Vocal Minority | Cathy Corkill |
| Carol Gelfand | |
| Marilyn Saunders | |
| Dona D. Vaughn |
London Revival Production Info:
| Opened | March 13, 1996 |
| Closed | June 29, 1996 |
| Theatre | Albery Theatre |
| Music | Stephen Sondheim |
| Lyrics | Stephen Sondheim |
| Book | George Furth |
| Producer | Caro Newling |
| Director | Sam Mendes |
| Musical Staging | Jonathan Butterell |
| Designer | Mark Thompson |
| Lighting Designer | Paul Pryant |
| Sound Designer | John Leonard |
| Musical Direction | Paddy Cunneen |
| Prod. Music Director | Gareth Valentine |
| Orchestrations | Jonathan Tunick |
| Casting | Anne McNulty |
| Robert | Adrian Lester |
| Sarah | Rebecca Front |
| Harry | Clive Rowe |
| Susan | Clare Burt |
| Peter | Gareth Snook |
| Jenny | Liza Sadovy |
| David | Teddy Kempner |
| Amy | Sophie Thompson |
| Paul | Michael Simkins |
| Joanne | Sheila Gish |
| Larry | Paul Bentley |
| Marta | Anna Francolini |
| Kathy | Kiran Hocking |
| April | Hannah James |
Added Songs:
Recordings:
Making Of Documentary - DVD
Making Of Documentary - VHS
1970 Columbia, CK 3550
1971 Sony West End, SMK 53496
1995 Varese Sarabande, VSD-5673
1996 Angel
1996 RCA Victor, 09026-68589-2
Awards:
Secondary performance rights handled by Music Theatre International
Articles:
Discuss this show in Sondheim.com's
community forum: Finishing the Chat... ››
“Assassins is about how society interprets the American Dream, marginalizes outsiders and rewrites and sanitizes its collective history. "Something Just Broke" is a major distraction and plays like an afterthought, shoe horned simply to appease. The song breaks the dramatic fluidity and obstructs the overall pacing and climactic arc which derails the very intent and momentum that makes this work so compelling...”
- Mark Bakalor
“I found [the Sondheim Celebration's Company] to be completely delightful. Almost all of the numbers excited and energized me, and most of the scenes were about as pitch-perfect as you can get. I just sat there with a big smile on my face the whole show.
Which is not to say that it is perfect...”
- popcornonmyknees
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