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Company: A Musical Comedy

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Sondheim's breakthrough play. Sondheim's breakthrough play.


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Sondheim's breakthrough play. Sondheim's breakthrough play.

30 review for Company: A Musical Comedy

  1. 4 out of 5

    Mark Dickson

    Reading this while listening to the accompanying music helps me to relive my experience of seeing this incredible show live. My only criticism is that the stage directions “The priest reappears” and “The priest disappears” downplay how hilarious those moments were.

  2. 5 out of 5

    Ronja (queer-is-the-universe)

    Another chance to disapprove Another brilliant zinger Another reason not to move Another vodka stinger Ahh I'll drink to that Another chance to disapprove Another brilliant zinger Another reason not to move Another vodka stinger Ahh I'll drink to that

  3. 4 out of 5

    Joseph

    Loved the changes made to make this a modern take on an old classic. Bobbie is now a woman, the wedding is a gay one, and the updates make sense and it's thrilling, but keeps the spirit of the original piece alive. Would LOVE to direct this version! Loved the changes made to make this a modern take on an old classic. Bobbie is now a woman, the wedding is a gay one, and the updates make sense and it's thrilling, but keeps the spirit of the original piece alive. Would LOVE to direct this version!

  4. 5 out of 5

    Ariya

    Company is a musical written by George Furth. George Furth is both a playwright and an actor, and has written plays such as Blazing Saddles, Merrily We Roll Along, and Twigs. As for his television work, he wrote for Love, American Style, I Dream of Jeannie, Green Acres, Happy Days, and many other iconic shows. The show takes place in New York, and is centered on a thirty-five year old bachelor named Bobby. Bobby’s purpose in the show is to have a central character who observes the marriages of h Company is a musical written by George Furth. George Furth is both a playwright and an actor, and has written plays such as Blazing Saddles, Merrily We Roll Along, and Twigs. As for his television work, he wrote for Love, American Style, I Dream of Jeannie, Green Acres, Happy Days, and many other iconic shows. The show takes place in New York, and is centered on a thirty-five year old bachelor named Bobby. Bobby’s purpose in the show is to have a central character who observes the marriages of his friends, as well as to reflect on his own status as a middle-aged single man. The story does not follow a streamline plot. Being a concept musical, it revolves around the themes of relationships, love, and isolation without involving a traditional story sequence. I believe that the title of this piece represents Bobby having his loved ones constantly with him, and because of this, he is never technically alone whether or not he’s single. This script explores many themes, all of which adults can relate to. It deals with marriage, dating, drugs, homosexuality, divorce, sex, true love, and community. Because of this, I would recommend this piece to adults, but it is certainly a great read for a mature high school audience. I got the chance to see this show performed live a few years ago, but I decided to read the entire script for myself because I enjoyed the content so much. The show is chalked full of humor and wit as well as very heartfelt, down-to-earth moments. Stephen Sondheim’s music only enhances all of the content in Furth’s libretto. This is a script that I don’t have any particular issues with, because you learn something new every time you read this script - I re-read each scene at least twice. This is a fantastic read for anyone interested in a realistic kind of musical script to read. I would rate this script a solid 5 out out 5!

  5. 4 out of 5

    Julie Miller

    Love the music and lyrics. I think this is an updated edition from 1996? Some solid humorous moments, and some touching ones, too. Strong characterization in Bobby. Wish some of the other characters were a little more developed, but then, it is Bobby's story. Love the music and lyrics. I think this is an updated edition from 1996? Some solid humorous moments, and some touching ones, too. Strong characterization in Bobby. Wish some of the other characters were a little more developed, but then, it is Bobby's story.

  6. 4 out of 5

    skippity_doo

    Updated for the 2018 London production starring Rosalie Craig as Bobbie, this script involves minor tweaks to book and lyrics that incorporate both the gender-flip of the protagonist and the modern day setting, e.g. in 'Poor Baby' the line becomes "Nothing much to do except to check her phone". Includes an all-new introduction by David Benedict and full colour photographs of the London cast. Updated for the 2018 London production starring Rosalie Craig as Bobbie, this script involves minor tweaks to book and lyrics that incorporate both the gender-flip of the protagonist and the modern day setting, e.g. in 'Poor Baby' the line becomes "Nothing much to do except to check her phone". Includes an all-new introduction by David Benedict and full colour photographs of the London cast.

  7. 5 out of 5

    Mason

    "Everything's different, / Nothing's changed, / Only maybe slightly / Rearranged." (33) "Everything's different, / Nothing's changed, / Only maybe slightly / Rearranged." (33)

  8. 4 out of 5

    John

    This review has been hidden because it contains spoilers. To view it, click here. Look, we all knew I’d never rate Company as anything other than 5 stars, even with this revamped version. And I don’t mean “despite,” because I think so many things in this rewrite help the show a lot. I think it’s got better momentum and some clearer connections across the ensemble. I like the flipping of dialogue between David/Jenny and Peter/Susan. I understand that they didn’t want to make huge changes to the book without drawing from previous drafts due to the death of George Furth, but I t Look, we all knew I’d never rate Company as anything other than 5 stars, even with this revamped version. And I don’t mean “despite,” because I think so many things in this rewrite help the show a lot. I think it’s got better momentum and some clearer connections across the ensemble. I like the flipping of dialogue between David/Jenny and Peter/Susan. I understand that they didn’t want to make huge changes to the book without drawing from previous drafts due to the death of George Furth, but I think if the decision was going to be made to cut a good portion of the second Peter/Susan scene, I think more changes could have been made in the Jamie/Paul scene. Im not sure if with the couple remaining instances of Jamie joking that the wedding could indicate pregnancy and that he’s “the next bride” when he catches the bouquet at the end of the scene that the scenes truly feel written for these new gender identities (which, in the foreword Marianne Elliott is quoted for saying that was her one request—if she was changing the gender identities of these characters, it wasn’t for the bit, it’s to explore how the show could have been written for them in the first place). Again, overall it is still great and absolutely captures the spirit of Company and reworks it in a contemporary lens. I cannot wait to see it one day.

  9. 5 out of 5

    Bob

    I've been trying to check my anti-New York city bias as I try to assess the script of the acclaimed Stephen Sondheim musical comedy "Company," but my other biases are clouding my effort. I've imagined myself watching "Company" in a theater. I'm squirming because there are all these married couple who don't like their spouses, wives who make fun of their husbands, husbands who put down their wives in the company of others, offers of cheating on spouses, both heterosexual and homosexual attempts at I've been trying to check my anti-New York city bias as I try to assess the script of the acclaimed Stephen Sondheim musical comedy "Company," but my other biases are clouding my effort. I've imagined myself watching "Company" in a theater. I'm squirming because there are all these married couple who don't like their spouses, wives who make fun of their husbands, husbands who put down their wives in the company of others, offers of cheating on spouses, both heterosexual and homosexual attempts at affairs — you get the picture. Real life? Hmm. The only time I laughed out loud was when the main character, waking up from his hook-up with the stewardess named April, begged "June" to stay. Didn't laugh when one of the other characters didn't know where Chicago was. My first thought was, yep, this is real life — New York snobbery.

  10. 4 out of 5

    Blandine

    1) i am obviously rating the 2018 production/staging because the playtext doesn't translate the emotions properly, nor does it include the brilliant transitions between scenes. 2) it's almost been 6 months since this closed and i'm happy to note that i still know all of this by heart and could still hear the actors' intonations when i read their characters' lines. 3) this will say "read once" but hahahahahahahah the actual amount of times i've seen this - you don't even wanna know. 4) larry calling 1) i am obviously rating the 2018 production/staging because the playtext doesn't translate the emotions properly, nor does it include the brilliant transitions between scenes. 2) it's almost been 6 months since this closed and i'm happy to note that i still know all of this by heart and could still hear the actors' intonations when i read their characters' lines. 3) this will say "read once" but hahahahahahahah the actual amount of times i've seen this - you don't even wanna know. 4) larry calling bobbie "pumpkin"!!! 5) anyway i don't know what else to say, so again, this isn't about the playtext - the production had its flaws (strikingly white for something set in nyc - hopefully they fix that for the broadway transfer) but i miss it so and i cannot wait to see it on broadway.

  11. 5 out of 5

    Eleanor

    The 2018 version is interesting. It obviously introduces a different story when the lead is a woman, and I didn't mind that, but I did mind some of the other small line changes. Maybe I'm being pedantic. I still loved the play but yeah the music and script just isn't as good (in my opinion) to the Original Cast Recording and playscript. Also one thing that was so minor but did irritate me were just a couple tiny differences between the script in my hands and the words spoken/sung in the recordin The 2018 version is interesting. It obviously introduces a different story when the lead is a woman, and I didn't mind that, but I did mind some of the other small line changes. Maybe I'm being pedantic. I still loved the play but yeah the music and script just isn't as good (in my opinion) to the Original Cast Recording and playscript. Also one thing that was so minor but did irritate me were just a couple tiny differences between the script in my hands and the words spoken/sung in the recording of this production that's available on Spotify. But again that's me being pedantic. The play itself is wonderful

  12. 4 out of 5

    D E N Z

    This book was really helpful because believe it or not, there are a lot of dialogue happening in this show! With this book, I was able to understand what the characters were saying and the lyrics of what they were singing. This book is extremely recommended for those who: 1.) Watched the show but didn't understand the dialogue/lyrics fully; 2.) Watched the show and wanted to remember what the characters said; and 3.) Didn't watch the show but wants to know more about this musical/curious what th This book was really helpful because believe it or not, there are a lot of dialogue happening in this show! With this book, I was able to understand what the characters were saying and the lyrics of what they were singing. This book is extremely recommended for those who: 1.) Watched the show but didn't understand the dialogue/lyrics fully; 2.) Watched the show and wanted to remember what the characters said; and 3.) Didn't watch the show but wants to know more about this musical/curious what the musical is all about.

  13. 5 out of 5

    Eleanor

    I went to see this last week performed at my uni and I just really wanted to read it and honestly this was such a good time. Listening alongside the music was just such a fun experience. I hadn't even heard of this musical before I went to see it but it feels like it's going to become a firm favourite of mine. I went to see this last week performed at my uni and I just really wanted to read it and honestly this was such a good time. Listening alongside the music was just such a fun experience. I hadn't even heard of this musical before I went to see it but it feels like it's going to become a firm favourite of mine.

  14. 4 out of 5

    Natasha

    Am I a 35-year-old trapped in the body of a 20-something? Saw this twice in the West End last year and have never connected with a musical (or character) as much as this one. I flipping love this revival.

  15. 5 out of 5

    Rosemary O'Brien

    I've always loved this show and was curious to read it (see it when theaters open again) to see how it was revamped. I LOVE it! I was supposed to see it last summer, but Broadway was shut down. I hope this one comes back and with Patti Lupone and Katrina Lenk. Enjoy! I've always loved this show and was curious to read it (see it when theaters open again) to see how it was revamped. I LOVE it! I was supposed to see it last summer, but Broadway was shut down. I hope this one comes back and with Patti Lupone and Katrina Lenk. Enjoy!

  16. 4 out of 5

    Avery

    i got this from a used bookshop in occoe. super thrilled to have the libretto for one of my favorite musicals. it’s truly brilliant and i found myself singing along inside of my head as i was reading. thank you sondheim!

  17. 5 out of 5

    Benjamin Williamson

    This show will always have a special place in my heart because of song I chose for my first audition came from it. I still need to see it performed onstage!

  18. 4 out of 5

    Sean

    Hmmmm, this probably deserves multiple readings, but my first impression is that it's not the most fun show. (I've never seen it live.) Hmmmm, this probably deserves multiple readings, but my first impression is that it's not the most fun show. (I've never seen it live.)

  19. 4 out of 5

    Richard Carilo

    Critical Score: 4.5 Personal Score: 4.5 Total Score: 9

  20. 4 out of 5

    By The Cover

    Really neat, fantastic music, although now I'm even more convinced I need to see it live. Really neat, fantastic music, although now I'm even more convinced I need to see it live.

  21. 4 out of 5

    Marla Hectic

    I've actually read the 2018 London version with a Female Bobbie and It such an interesting versión...just incredible "human study" I've actually read the 2018 London version with a Female Bobbie and It such an interesting versión...just incredible "human study"

  22. 4 out of 5

    Chris

    This review has been hidden because it contains spoilers. To view it, click here. Okay. So I read the 1995 revised script and the 2018. I will say. Some things added to the 2018 make it better, updating it and adding some better references. I will say... I hate the swap if all but Bobbie. I think them trying to stick to heteronormative nonsense really hurts the script. It makes it clunky. Bobbie could have been queer. We’d have more women in the show (ENOUGH male dominated shows). I just... I prefer the script with Bobby and I’d love to see a new show written about a woman in Okay. So I read the 1995 revised script and the 2018. I will say. Some things added to the 2018 make it better, updating it and adding some better references. I will say... I hate the swap if all but Bobbie. I think them trying to stick to heteronormative nonsense really hurts the script. It makes it clunky. Bobbie could have been queer. We’d have more women in the show (ENOUGH male dominated shows). I just... I prefer the script with Bobby and I’d love to see a new show written about a woman instead. Maybe I need to see it. I just have an issue with four women’s roles being taken for men, the added misogyny (some “is she on the rag?” Jokes... no thank you). TL;DR: Bobby or Bobbie, love it. More men than women in the update, hate it. Couldn’t she be queer? Couldn’t we explore Bobby’s sexuality? Why have gender in this matter at all?

  23. 5 out of 5

    Micre

    These book is totally addictive

  24. 5 out of 5

    Neil Schleifer

    First, the libretto to COMPANY was written by George Furth; Sondheim provided the music and lyrics. This is an author attribution flaw that Goodreads ought to correct. Furth creates as his central character, Bobby, a 30 year old bachelor in the 1970's who flits from meaningless relationship to meaningless relationship and is ostensibly adopted by a group of married friends: obsessive/compulsive Harry & Sarah who use Bobby as a buffer against their own neuroses (hers is eating; his is drinking); Pe First, the libretto to COMPANY was written by George Furth; Sondheim provided the music and lyrics. This is an author attribution flaw that Goodreads ought to correct. Furth creates as his central character, Bobby, a 30 year old bachelor in the 1970's who flits from meaningless relationship to meaningless relationship and is ostensibly adopted by a group of married friends: obsessive/compulsive Harry & Sarah who use Bobby as a buffer against their own neuroses (hers is eating; his is drinking); Peter and Susan who delude themselves into thinking that that getting a divorce and living together will give them the freedom to love one another more; Jenny and David, a couple, of "squares" who think that getting high on pot will add spice to their mundane lives; Paul and Amy, an inter-faith romance (he's Jewish, she is not) whom we see on their wedding day (Bobby is the Best Man -- ceremonially, not literally) and Amy is terrified out of her wits; Joanne the much-married, acid-tongued sophisticate and Larry, her latest husband. As a portrait of the 1970's and the post-"Free Love" generation, the piece is bitterly funny diatribe both for and against marriage. In the negative, the institution is seen as limiting, boring, and a component that fuels both tedium and psychological hang-ups. In the positive it is seen as an element of "being alive" -- to quote from Sondheim's lyrics, Bobbby discovers that while committing his life to someone may make him vulnerable to someone who could "hurt [him:] too deep" it will also someone provide someone to need him, know him, and "always be there, as frightened as you". Another excellent lyrical observation: "Alone is alone ... not alive". No man is an island. No matter how many walls one may put up, or how loudly one declares their love for their independence, Furth and Sondheim assert that it is human nature to to share one's life with someone.

  25. 5 out of 5

    Adam Henry

    Die-hard musical-theatre lovers will tell me it’s because “it hits too close to home,” but the reason I hate this musical is because the songs are absolutely awful, the story is trite and petty, and existentialism makes for very boring subject matter onstage (unless it’s Waiting for Godot or Pippin). “Being Alive” is a pretty song, yes, and I’ve enjoyed singing it before (inappropriately, as I was in my early-20s), but with that as exception, these songs make my eyes twitch and the “story” is th Die-hard musical-theatre lovers will tell me it’s because “it hits too close to home,” but the reason I hate this musical is because the songs are absolutely awful, the story is trite and petty, and existentialism makes for very boring subject matter onstage (unless it’s Waiting for Godot or Pippin). “Being Alive” is a pretty song, yes, and I’ve enjoyed singing it before (inappropriately, as I was in my early-20s), but with that as exception, these songs make my eyes twitch and the “story” is the equivalent to a mIme mimicking masturbation. The best thing about Sondheim’s worst? The documentary made during the recording of the soundtrack, succinctly titled Original Cast Album: Company*. I absolutely recommend it if only for the frustrated hilarity Elaine Stritch brings to the terrible process it took to record this mess. “I’m just SCREEEEAM-IIIIIING!!!” *And if you enjoyed that, the 3rd season of Documentary Now! parodies the film as “Co-Op: Original Cast Album.”

  26. 4 out of 5

    Jason Loeffler

    The highlights for me: "The Little Things You Do Together", "Side by Side by Side", "The Ladies Who Lunch", and "Being Alive". In a series of disconnected scenes, each character/couple has a chance to shine in such a way that both highlights the ways in which husbands and wives can differ, and unpacks, in the same heartbeat, what brought each particular couple together in the first place. On the same token, it addresses what one faces when one goes through life without marriage, which--in today's The highlights for me: "The Little Things You Do Together", "Side by Side by Side", "The Ladies Who Lunch", and "Being Alive". In a series of disconnected scenes, each character/couple has a chance to shine in such a way that both highlights the ways in which husbands and wives can differ, and unpacks, in the same heartbeat, what brought each particular couple together in the first place. On the same token, it addresses what one faces when one goes through life without marriage, which--in today's age of equality--adds a whole new dimension to an already complicated work. Truly a problem play, as Sondheim's plays usually are, this one certainly lives up to the rest of the cannon.

  27. 5 out of 5

    Sheri

    I thought that the script was way too repetitive. I get that the point is that all marriages are similar and all are different, but I just thought the little snippets were too similar. The “we don’t drink” the bourbon scene wasn’t all that different from the “we don’t really smoke pot scene.” and all of the songs felt so similar. I listened to this for a bit yesterday and realized I had heard 4 songs without ever noticing a transition between them. I thought this didn't really accomplish anythin I thought that the script was way too repetitive. I get that the point is that all marriages are similar and all are different, but I just thought the little snippets were too similar. The “we don’t drink” the bourbon scene wasn’t all that different from the “we don’t really smoke pot scene.” and all of the songs felt so similar. I listened to this for a bit yesterday and realized I had heard 4 songs without ever noticing a transition between them. I thought this didn't really accomplish anything. There is no real energy switch or plot change or even character growth.

  28. 5 out of 5

    Luke Dombroski

    Although "Company" is a phenomenal musical, the libretto itself does leave something to be desired. Definitely something you don't want to sit down and read (I got the script for character work as an actor). Although "Company" is a phenomenal musical, the libretto itself does leave something to be desired. Definitely something you don't want to sit down and read (I got the script for character work as an actor).

  29. 5 out of 5

    Amandanoel

    one of my favorite musical scripts/librettos. The comparison of married people not being marriage itself to musicians playing the wrong notes not meaning the music is bad was a major shift in perspective for me...

  30. 4 out of 5

    Maggie

    My fav. Sondheim... so far!

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