Company - A Musical Comedy (1970 Original Broadway Cast)
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Free Music Notes for Company - A Musical Comedy (1970 Original Broadway Cast)
Free Music Review: You're always sorry, you're always grateful
Hit: 5 Stars
I actually have two recordings of Company - I bought this one for the fabulous performances of Elaine Stritch and well, everyone except Dean Jones, and the 1995 Broadway Revival Cast for the superior vocal talents of that show's Bobby and the additional song "Marry Me a Little." If you're a true Sondheim devotee, I'd get both recordings. If you only buy one recording though, this should be it.
One of the previous reviewers said that they didn't think people who've never been married would appreciate this show. As a person who is not married and is now in the position of having many married friends, I've always overidentified a bit with Bobby. Bobby is on the outside looking in, and that's what makes this show so special. Without much (if any) plot, Sondheim manages to capture the basic contradictions of giving your heart to another and the fears that go along with that, and he manages to do so in alternately funny and heartbreaking music.
And the lyrics...
"You're sorry-grateful, regretful-happy,
why look for answers when none occur?
You always are what you always were
which has nothing to do with, all to do with her."
"Somebody hold me too close/ somebody hurt me too deep/ somebody sit in my chair/ and ruin my sleep/ and make me aware of being alive"
Company is to me one of Sondheim's most subtle, affecting works. It sneaks up on you - the melodies are accessible enough that you don't always realize the bittersweet complexity of the lyrics right away. This show ranks up there with A Little Night Music, Sweeney Todd, and Follies as one of his greatest works. I highly recommend it.
Free Music Review: SONDHEIM USES LOVE AND MARRIAGE TO CREATE A MASTERPIECE!
Hit: 5 Stars
Company is that rare musical that takes a real look into what is really going on in life. Company is filled with amazing songs, probably some the best in Broadway history. the story does not really have a plot, but it revolves around Robert, a bachelor and his journey finding love with that special person. One of The best are the bittersweet, yet true "Another Hundred People," sung beautifully by Pamela Myers, as she tells about the many people that come and come in this city. Another one is "Getting Married Today," where Beth Howland plays Amy, a worried bride who just might commit suicide on her wedding day. Not to forget the opening song "Company," which will have you humming the song for a while. Then there's "The Little things You Do Together, " where Elaine Stritch ( doing a perfect job) sings about the little things that make marriage great. There's the cutesy guilty pleasure "You Could Drive a Person Carzy," where three of Robert's girlfriends reflect on Robert himself. Then there are other great ones including "have I Got a Girl For You," "Side by Side by Side," "Poor Baby," and "Sorry-Grateful." The worst is Elaine Stritch's solo "the Ladies who Lunch." One song, "Barcelona" is sort of like poetry and is defitnetly passionate and beautiful sometimes in a quirky way, sung By Dean Jones (Robert) and Susan Browning (april) his girlfriend (or one of many). Then there's Robert's solo, "Being Alive," where Robert looks at his life. Then to top it off is the finale which ends the show just right. "Company" is filled with great songs, comedy, drama, etc. When you add it all up it = ONE OF THE GREATEST MUSICALS EVER!!!!! by Matthew EngFree Music Review: Even in a slightly uneven show, Sondheim's genius shines
Hit: 5 Stars
Company may not have the complex music or unusual rhyme schemes of Sondheim's later works, but it still is incredible in its own right based on several choice songs. Another Hundred People and Getting Married Today are both absolutely brilliant, and each show one of Sondheim's great trademarks (lightning fast moving lyrics and thought provoking observations). Both rendetions of Being Alive are great. For me, the slight edge goes to Dean Jones. I don't mind his wavering voice (in fact, I think it works in this song) and the sheer angst he conveys is remakrable. The fact he was having a nervous breakdown in real life when this recording was done probably helped that. However, most impressive of all is The Ladies who Lunch. Sondheim's lyrics and music are fantastic, and Elaine Stritch (who is also very funny in the charming "The Little Things you Do") manages to be cynical, funny and gut wrenching at the exact same time. This is one of those great Sondheim performances, alongside Mandy Patintkin's "Putting it Together" and Bernadette Peter's "The Last Midnight". There are problems here, though. The Tick-tock dance number is wasted as we...well...don't get the dance; and the song that comes directly after that, Barcelona, is dull and poorly sung by Dean Jones. There's also the fact that the booklet doesn't come with lyrics, which is absolutely ridiculous. I had to type out the lyrics to Another Hundred People and Being Alive so I could learn them. Still, an exceptional recording with lots of great songs and a few choice brilliant ones that make it all worthwhile.Free Music Review: Just Go Buy It Already
Hit: 5 Stars
Company from the very first chords of its opening, is very much a product of it's time, but that in no way condems it to being anything but brilliant. It's amazing how you can go to the happy, and comical Side By Side, and then go to the melancholy, and slightly haunting Another Hundred People, but this is Sondheim, so could you really expect anything less? Every song is worthwile, which is surprising, because on all of my cd's there's atleast one song that I don't like. My only problem with it, if I had to have one, is that Dean Jones's voice really bugs me, not much mind you, just enough to sometimes make me cringe a little bit, especially on Being Alive, his voice is wavy and seems to be all over the place. Also, the same song being sung by Larry Kurt, the original Tony from West Side Story and Jones's understudy, who actually took over the role on Broadway since Jones left after doing the premier and this cast recording. Kurt has a smooth voice and is a welcome change to Jones's, but you gotta give the guy credit, he was going through a mental breakdown. When I bought this cd, I wasn't quite sure what I had gotten myself into, I listened to the title song, thought it was ok, and just let it sit on my shelf for a few months. I decided to take it on trip to Europe, and on a train listenening to it, it finally clicked and I kept listenening it over and over again. If I haven't convinced you to buy it, then either you've already made up your mind, or dumb, BUY THIS NOW.Free Music Review: I'll Drink To That
Hit: 5 Stars
As with most OBC recordings, this is the deffinitive recording of Company. Each cast member is wonderful and every song is a joy. Elaine Stritch is probably the highlight of the recording, she lends her wonderfully characteristic voice to the ensemble numbers (listen to her shouting away in the finale!) and gives her legendary performance of one of Sondheim's best - "The Ladies Who Lunch". "You Could Drive A Person Crazy" is wonderfully sung with flawless harmonies throughout. "Poor Baby", usually a very problematical number, is pulled off effortlessly. I'll also happily admit to never having liked "Another Hundred People" untill hearing this recording.
Overall, one of the best cast recordings I've ever heard (and I've heard a fair few). So although there are other equally good, or sometimes better, performances out there (ie. Madeline Kahn's "Getting Married Today"; Millicent Martin, Lea Salonga, Ruthie Henshall and Maria Friedman's "You Could Drive A Person Crazy" and Patti LuPone's (or Bernadette Peter's) "Being Alive") this is the best all round recording for a totally competent cast and Elaine Stritch's Johanna will never be bettered: I'll drink to that!
The CD is now digitally smartened up and the sound is flawless. The bonus track (Lary Kert's "Being Alive") is nice to have though slightly pointless as it is almost identical to Dean Jones' but, in my view, slightly less emotive. All in all, a must for any Sondheim or post 1957 musical theatre fan!