Now THIS is Sondheim. In his previous works, there was often this disconnect between his music and/or lyrics and the rest of the show. West Side Story was a chance to learn at the seat of veterans, and he often spoke of being disappointed with his output. A Funny Thing was a novice stretching his chops in a lighthearted show, his best yet to come. And Anyone Can Whistle’s songs often felt like detours from the self involved book. But George Furth’s book for this show had Sondheim’s full attention, and their sensibilities merge perfectly. This is where Sondheim’s wit first meets his heart, and there are more lyrics than I can name that leave me with an ache in my heart.
And the book itself helps with that, being very funny while also doing an incredible job of tying together what is, essentially, a venue. There’s cohesion, a narrative heft, despite it purposely lacking a linear plot and reality and fantasy being blurred. I think I’ll always love this show in all its permutations. Price’s later 2011 recording has more physicality to it, while this one embraces the theater. Raul Esparza, in contrast to NPH’s youthful babyface, exudes a detached weariness, the sad clown at the forefront. And the artistry of each of the cast to not only nail the acting but to play instruments is just incredible. Company is a pinnacle of theater, musical or otherwise, and the fact that it is just one piece of Sondheim’s legacy instead of eclipsing it is amazing in its own right.
Review by JCVIP 4BlockedParent2021-12-19T05:53:39Z
Now THIS is Sondheim. In his previous works, there was often this disconnect between his music and/or lyrics and the rest of the show. West Side Story was a chance to learn at the seat of veterans, and he often spoke of being disappointed with his output. A Funny Thing was a novice stretching his chops in a lighthearted show, his best yet to come. And Anyone Can Whistle’s songs often felt like detours from the self involved book. But George Furth’s book for this show had Sondheim’s full attention, and their sensibilities merge perfectly. This is where Sondheim’s wit first meets his heart, and there are more lyrics than I can name that leave me with an ache in my heart.
And the book itself helps with that, being very funny while also doing an incredible job of tying together what is, essentially, a venue. There’s cohesion, a narrative heft, despite it purposely lacking a linear plot and reality and fantasy being blurred. I think I’ll always love this show in all its permutations. Price’s later 2011 recording has more physicality to it, while this one embraces the theater. Raul Esparza, in contrast to NPH’s youthful babyface, exudes a detached weariness, the sad clown at the forefront. And the artistry of each of the cast to not only nail the acting but to play instruments is just incredible. Company is a pinnacle of theater, musical or otherwise, and the fact that it is just one piece of Sondheim’s legacy instead of eclipsing it is amazing in its own right.