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I Went Along To Stephen Sondheim’s Final Musical: Here We Are

A gutsy posthumous musical from the greatest musical composer of all time doesn’t imbue confidence but Here We Are is a reminder of a theatre genius.

Here We Are (originally titled Square One) -becomes the third major Sondheim production running in New York City, alongside Broadway’s Sweeney Todd, and Merrily We Roll Along.

Sondheim said days before his death in 2021 that he did not know when it would be finished, he had written songs for the first act but was struggling with the second. “I’m a procrastinator… I need a collaborator who pushes me, who gets impatient.”

Here We Are – the final Sondheim Musical – is directed by Joe Mantello, and based on two films by Spanish director Luis Buñuel — The Discreet Charm of the Bourgeoisie and The Exterminating Angel, this show is written with the playwright David Ives. Act 1 is Discreet Charm, while Act 2 is Angel.

As for the wider backdrop, in Sondheim’s last interview, he stated that this show had a “so-called plot” in which “the first act is a group of people trying to find a place to have dinner, and they run into all kinds of strange and surreal things, and in the second act, they find a place to have dinner, but they can’t get out.”

Then again, it’s hard to work out what’s actually going on here. For instance, I read in January that producer Cameron Mackintosh said that the show was incomplete and only “50 or 60 per cent there.”

Cam Mack continued: “I think he wanted me to reinforce his view as to whether or not he was going to complete it. Because of the amount of energy it would have taken.”

Hm. Of course, the most difficult thing about making posthumous musicals is that the progress of the artist is frozen in time. No matter what decisions others make, they can only approximate the artist’s will.

So, is Here We Are any good?

Well, it takes aim at obvious targets, and makes a muddle of hitting them, in which self-absorbed characters are tortured by a wicked cosmos, and permission to laugh is never clearly granted. It’s the performances that make Here We Are a worthwhile, fitting postscript to Sondheim’s legacy.

In fact, everything of interest happens in the first act. The book states familiar truths in the most confrontational of ways; an Eat The Rich satire.

The plot: a group of people attempt to find a place to have dinner. Later, they do have dinner but cannot get out of the room. We are presented with American versions of the French bourgeoisie, this show is brilliantly lit by Natasha Katz: the set shimmered.

And, oh, the thrill of minimal choreography that is exact, from the reset of each attempt to have dinner, to the intimate chemistry between two angst-ridden young lovers. 

Yes, the fantastic cast including David Hyde Pierce, Tracie Bennett, and Bobby Cannavale try their best, but the book’s insistent conceptual droning overtakes them. There are no songs in Act 2.

In a memorable moment of fourth wall-breaking, a horny soldier, played by Jin Ha, sings a love song that is interrupted halfway through with a generic show-stop. 

House lights go up: 

It’s the end of the world

There is nothing but you 

I’ve been looking for love all my life 

I’ve got further to go

I want only to be with you, live with you, die with you

That much I know

Then my mother came in 

I saw that her shirt was stuffed, and the sky was cloth, and the clouds were just painted and the food was just rubber

Then a curtain went up and I realised we were all in a play, on a stage, in a theatre

Here We Are, then, grants these people their idle wishes.

Ultimately, though, this project is a ghostly reminder of Sondheim’s perfectionism. And that’s just it: however much you may enjoy this show, it’s hard to completely accept it as a true Stephen Sondheim musical without his final approval.

As a lyricist, Sondheim followed three rules: content dictates form, less is more, God is in the details. This show all sounds pleasantly like an echo of good Sondheim.

A priest – played with excellent comic timing by Hyde Pierce sings: 

Do any of you think about the meaning of life? Any of you

God. Death. Anyone for purgatory? 

In the middle of mass, all I think is my miter should be tighter

I mean, why a bishop? Why not an analyst? 

Why not a bartender, I could be anything

Don’t get me wrong

I love the church and I don’t only mean the clothes

I mean the statues and the windows

And the rows of yearning people and the special par-king

And then of course there’s God

Don’t get me wrong

I love my dog, though, I don’t always understand him

Or agree 

Do we really need the droughts and the floods

And the plagues. And the earthquakes. And the universal suff’ring?

This was funny.

It’s an ambitious musical that works hard to achieve a lean and contemporary look. But characters that we feel indifferent to turns the plot into a guessing game are not substitutes for suspense.

In the end, its existence with a handful of motifs that stand up to Sondheim’s peerless oeuvre, a satire of the super rich, a musical that attempts to illustrate the dehumanising essence of free-market capitalism, via one-liners and mystical virtues. 

Yet I kept waiting for Here We Are to get started — to get into something. I was still waiting when it was over and I was back out on the street. 

What I am describing sounds like a chore. And by Sondheim peerless standards it mostly is. But it’s a surprisingly absorbing musical, just the same.

Steve has his epitaph now. God is in the details.

 Here We Are runs at The Shed, NYC until January 7, 2024.

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Into The Woods, Theatre Royal Bath: be careful what you wish for

“‘Horror! Shame! Disgrace!’ laughs Terry.” runs the programme note asking what co-directors Terry Gilliam and Leah Hausman want audiences to take away from Into The Woods in Bath. 

Mm. 

The cast of Into the Woods at Theatre Royal Bath. Photo: Marc Brenner

Some evenings at the theatre make an instant impact, others lurk in your unconscious and won’t go away.

As you may recall, last year the Old Vic cancelled Gilliam’s show following unrest (he’d made contentious comments about Netflix special by comedian Dave Chappelle and the #MeToo movement) about its original decision to programme the production. 

During the pandemic, Theatre Royal Bath agreed to re-home the production.

Terry Gilliam & Leah Hausman on stage with the cast of Into The Woods

In that context, this disquieting revival becomes a riposte. With a cast of 23, the macabre musical is almost too vast for Bath’s proscenium, but it wittily (and pertinently) blends the carnivalesque and the gothic.

Anyway, in the first half of co-director’s Gilliam’s and Hausman’s slippery production, a childless couple go on a quest to lift a curse placed by a witch (Nicola Hughes). We encounter as Red Ridinghood (Lauren Conroy), Cinderella (Audrey Brisson) Jack of the Beanstalk (Barney Wilkinson), Rapunzel (Maria Conneely) and of course the Baker (Rhashan Stone) and his wife (Alex Young)– all of whom seem emotionally damaged. And even The Mysterious Man (Julian Bleach) can only raise a snarl.

In the superior second half, an unforgiving giantess inflicts mayhem on the fairy-tale community, whose survivors realise self-discovery. There’s magic in the air around Young as the childless Baker’s Wife and superb Brisson as Cinderella – they are the key to what makes this evening so beguiling, I think. 

Into the Woods at Theatre Royal Bath. Photo: Marc Brenner

Interestingly, Sondheim saw the richly atmospheric designs before he died and is said to have wholly approved. This surreal staging ingeniously mashes up the vividly dark and the popular.

Ingenious use is made of designer Jon Bausor’s Victorian toy theatre creation: a sinister cuckoo sits above the curtain, a large chicken with “Made in China” on its thigh lays a golden egg, a massive pocket watch drops from the sky, counting down hours to undo the curse. 

Into the Woods at Theatre Royal Bath. Photo: Marc Brenner

Elsewhere, Will Duke’s opulent video designs compliment the storytelling effortlessly. The ensemble is drilled. The singing is good.

It’s a heady mix: political, playful and profound.

Gilliam and his co-director Hausman make us unsure if we are to care about the characters, or if it is all just for a laugh – there is a lot of mugging off – and this can occasionally be at the expense of the more melancholy numbers. 

Furthermore, too often this rollicking production mistakes the overwrought for genuine emotion. You never really emotionally connect with any of the material. Well, except for Milky White – Jack’s bug-eyed pantomime cow. 

Still, it’s a dreamlike evening defiantly served not just by its leads but the entire top-notch, shape-shifting ensemble and a small but perfectly formed 10-piece band.

Into the Woods at Theatre Royal Bath. Photo: Marc Brenner

So, transfer Into The Woods? Only if it comes with this warning out front: ‘be careful what you wish for’.  

Into The Woods runs until 10 September at Theatre Royal Bath. 

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“Into the woods” will have a new Broadway cast recording

Into The Woods

Sean Patrick Flahaven, Chief Theatricals Executive for Concord, has announced that Concord Theatricals/Craft Recordings will release the cast recording of the critically-acclaimed Broadway revival of the New York City Center Encores production of James Lapine and Stephen Sondheim’s Into The Woods in September on streaming and digital platforms worldwide. Physical release will be announced at a later time.

Into the Woods, the first Broadway show of the 2022/2023 season, opened to rave reviews on July 10 at the St. James Theatre. This production is produced by Jordan Roth, President of Jujamcyn Theaters, directed by Lear deBessonet (in her Broadway debut), music direction by Rob Berman with The Encores! Orchestra, and choreography by Lorin Latarro. Into the Woods is dedicated to the memory of Stephen Sondheim.

Flahaven, who spent 25 years working with Sondheim in various musical capacities and has been a producer on dozens of cast albums, including 12 Grammy nominees, will produce the recording, with Berman as Co-Producer, Roth as Executive Producer, and deBessonet as Associate Producer.

Tickets are available via SeatGeek.com/into-the-woods.

Into the Woods stars Sara Bareilles as the Baker’s Wife, Brian d’Arcy James as the Baker, Tony Award® winner Patina Miller as the Witch, Phillipa Soo as Cinderella, Joshua Henry as Rapunzel’s Prince, Aymee Garcia as Jack’s Mother,  Ta’Nika Gibson as Lucinda, Annie Golden as Cinderella’s Mother/Grandmother/Giant’s Wife, Albert Guerzon as Cinderella’s Father, Brooke Ishibashi as Florinda, Kennedy Kanagawa as Milky White, David Patrick Kelly as the Narrator/Mysterious Man, Julia Lester as Little Red Riding Hood, Nancy Opel as Cinderella’s Stepmother, Cole Thompson as Jack, David Turner as the Steward, Alysia Velez as Rapunzel. With Delphi Borich, Felicia Curry, Jason Forbach, Alex Joseph Grayson, Cameron Johnson, Paul Kreppel, Mary Kate Moore, Diane Phelan, and Lucia Spina as understudies.

The Into the Woods creative team includes Tony Award winner David Rockwell (Scenic Design), Andrea Hood (Costume Design), Tyler Micoleau (Lighting Design), Tony Award winner Scott Lehrer & Alex Neumann (Co-Sound Designers), James Ortiz (Puppet Design), and Cookie Jordan (Hair, Wigs & Makeup Design). Casting is by Telsey & Co. with Production Supervision by Cody Renard Richard. Justin Scribner will serve as the Production Stage Manager.

Into the Woods first premiered on Broadway in 1987, winning three Tony Awards including Best Score and Best Book. It has since been produced throughout the world and was adapted into a major motion picture in 2014. This production will mark its first time on Broadway in 20 years.

Into the Woods is produced by Jujamcyn Theaters; Jordan Roth; New York City Center; Daryl Roth; Hunter Arnold; Concord Theatricals; Nicole Eisenberg; Jessica R. Jenen; Michael Cassel Group; Kevin Ryan; ShowTown Productions; Armstrong, Gold & Ross; Nicole Kastrinos, Executive Producer. 

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OLD FRIENDS Celebrate SONDHEIM At The Sondheim, an All-Star gala in aid of the launch of The Sondheim Foundation

Stephen Sondheim. Photo by Michael Le Poer Trench. © CML

Cameron Mackintosh has invited many of Stephen Sondheim’s old friends to join him in celebrating his extraordinary talents and legacy at the theatre which was recently gloriously rebuilt in Sondheim’s honor. The all-star cast for OLD FRIENDS so far includes Michael Ball, Petula Clark, Judi Dench, Daniel Evans, Bonnie Langford, Adrian Lester, Damian Lewis, Julia Mckenzie, Bernadette Peters, Elaine Paige, Clive Rowe, Imelda Staunton and Hannah Waddingham. They will be joined by a featured company of West End stars, currently being finalised.

Stephen Sondheim. Photo by Michael Le Poer Trench. © CML

The evening, which takes place for one night only on 3 May 2022 at 8pm, will be staged by Matthew Bourne and Maria Friedman with choreography by Stephen Mear and a 26-piece orchestra conducted by Alfonso Casado Trigo.

Patrons can sign up for priority booking at sondheimoldfriends.com.  Tickets will go on sale on 15 March with Public Booking opening at 1pm.

Cameron Mackintosh said: “It is impossible to overstate the influence and contribution Stephen Sondheim has made to Musical Theatre, both personally and professionally. He was as great a teacher as he was an incomparable writer and the Little Things that he did for so many people forged legions of friendships throughout his long life. I was lucky enough to be Steve’s friend and occasional collaborator for over 45 years since I first produced Side By Side By Sondheim and the Wyndham’s Theatre in 1976. It was a friendship full of laughter, gossip and glorious insightful camaraderie.

Steve was so prolific and profound as a writer that it’s impossible to put together a definitive list of his greatest songs, as everyone has their own favourites, so our choice of songs will purely reflect the joy and love I have for one of the greatest Broadway Babies of all time.”

All profits from the evening will go to the Stephen Sondheim Foundation, which the legendary composer and lyricist established under his Will to receive future income from his copyrights and intellectual property, with the proceeds to be used principally for the support of playwrights, composers, and lyricists in the early stages of their careers to assist in the development and advancement of their work, as well as for sustaining other aspects of the musical theatre craft and arts education.

Until the Stephen Sondheim Foundation has completed the process of its formation, the proceeds derived from this event will be held in trust by The Mackintosh Foundation (registered charity number: 327751) on its behalf.

LISTINGS INFORMATION     

Theatre:                   Sondheim Theatre, Shaftesbury Avenue, London, W1D 6BA

Date:                       3 May 2022 at 8pm

Website:                  sondheimoldfriends.com

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Broadway Companies come together to celebrate Stephen Sondheim

Broadway Tribute to Stephen Sondheim, Photo by Jenny Anderson
Broadway Tribute to Stephen Sondheim, Photo by Jenny Anderson
Broadway Tribute to Stephen Sondheim, Photo by Jenny Anderson

Today, hundreds of members of the Broadway community and casts of Broadway shows came together to celebrate and honor the life of the late Stephen Sondheim. Gathered on the iconic red steps in Duffy Square, participants sang “Sunday” from Sondheim’s celebrated work, Sunday in the Park with George. They included Lin-Manuel Miranda, Celia Keenan-Bolger, Sara Bareilles, Raúl Esparza, Stephen Schwartz, Laura Benanti, Brian Stokes Mitchell, Josh Groban, Erich Bergen, Lonny Price, Jim Walton, Tom Kitt, Reeve Carney, Eva Noblezada, Marc Shaiman, Lauren Patten, Kathryn Gallagher, Abby Mueller, Judy Kuhn, Brandon Uranowitz, Adam Chanler-Berat, Tavi Gevinson, Erin Davie, Bryan Clark Tyrell, and many more.

This event was co-presented by the Broadway League, the Times Square Alliance, and Playbill. The participants were conducted by Michael J. Moritz. Produced by Erich Bergen.

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Stephen Sondheim was a genius – we shall not see his like again

I never thought Stephen Sondheim would die.

Oh, I know we all do eventually, but he carried with him such an aura of invincibility that if anyone could cheat the passage of time, I assumed it would be musical theatre’s God. (The New York Times even once ran a story on the phenomenon, asking if Sondheim and God had ever been seen in the same place).

Sondheim, the maestro who reinvented musical theatre has passed at his home in Connecticut suddenly at 91.

His attorney, F. Richard Pappas, also confirmed the composer’s death: “The day before, Mr. Sondheim had celebrated Thanksgiving with a dinner with friends in Roxbury,” Pappas said in a written statement. “And he spent all day Wednesday seeing the matinee and evening performances of Dana H and Is This a Room — doing what he most loved to do.”

West End theatres will dim their lights on Monday 29 November at 7.00pm for 2 minutes. This tradition is reserved for the industry’s most celebrated figures and last occurred over here in 2018, following the death of trailblazing choreographer Gillian Lynne.  

In truth, what mattered to Sondheim, widely considered the most influential composer-lyricist in the American musical theatre of the 20th century, was his art, in all its guises. His legacy is eternal.

Stephen Sondheim

Six of Sondheim’s musicals won Tony Awards for best score, and he also received a Pulitzer Prize (Sunday in the Park), an Academy Award (for the song Sooner or Later from the film Dick Tracy), five Olivier Awards and the Presidential Medal of Honor. In 2008, he received a Tony Award for lifetime achievement. 

He was born into a Jewish family in New York City, and his career began in the 1950s, a decade in which he wrote the lyrics for Broadway classics Gypsy and West Side Story. For his fans, his audience, this is a moment of infinite sorrow. 

Looking back, I finally got Sondheim musicals– there’s cynicism, endless philosophy, and pure emotion in his work – when I turned thirty.

Seeing Dominic Cooke’s Follies and Marianne Elliott’s gender flipped Company within months of each other, it’s fair to say, hit me during a life affirming period of reflection and recalibration. 

The West End company of Company
© Brinkhoff Mogenburg

Think of modern musicals like Hamilton and even Fun Home and you’ll find the composers owe their style, as well as the roof over their head and the food on the table, to the genius of Stephen Sondheim. 

All in all, losing Sondheim in 2021 is all the more surprising after he so joyously attended the current revival Company on Broadway earlier this month. A ripple of murmurs and a rapturous standing ovation greeted the masked nonagenarian as he emerged from a side entrance shortly before showtime, walking along the fifth row to his aisle seat. 

Stephen Sondheim attends Company on Broadway

He was a keen teacher and mentor and used his talent always to make a difference. Art isn’t easy.

I asked Robbie Rozelle, A&R Director at Broadway Records for a few words on Sondheim’s legacy and impact. He said: “Taking the foundation that Oscar Hammerstein laid for him, Sondheim proceeded to become the greatest architect of musicals. He was also an important teacher, who worked with people to stretch the form even further – Jonathan Larson, Jason Robert Brown, so many. He was the bridge between the Golden Age of musicals and the new form of musical, and what a beautiful bridge he was.”

Sondheim was also generous with his time, and with his encouragement, just very, very giving. 

An unsurpassed musical theatre super-hero. 

In short, he was an insightful, shrewd operator who could spot a contradiction at 50 paces. The irony of this, and the debt we all owe him, is not lost on me. He is survived by his husband, Jeffrey Scott Romley, whom he married in 2017.

“You have to work on something that makes you uncertain – something that makes you doubt yourself,” 

“If you know where you’re going, you’ve gone, as the poet says. And that’s death,” Sondheim said in 2017.

I’d like to propose a toast. Stephen Joshua Sondheim, may peace be upon you.

Steve

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“Company” resumes business as box office opens today

Company

The box office at the Bernard B. Jacobs Theatre (242 West 45th) reopens for business today at 12:00 PM for the highly anticipated return of Marianne Elliott’s revolutionary staging of Stephen Sondheim and George Furth’s seminal musical masterpiece, Company. Tickets are available for purchase from noon to 8:00 PM, Monday through Saturday at the box office. Additionally, tickets can be purchased at www.companymusical.com, www.telecharge.com, or by calling (800) 447-7400

This visionary production of Stephen Sondheim and George Furth’s landmark American musical, Company, directed by two-time Tony Award® winner Marianne Elliott will resume preview performances on Monday, November 15 ahead of a Thursday, December 9 opening night.

Tony Award winner Katrina Lenk and two-time Tony Award winner Patti LuPone lead a cast that includes Matt Doyle as Jamie, three-time Tony Award nominee Christopher Fitzgerald as David,  two-time Tony Award nominee Christopher Sieber as Harry, Tony Award nominee Jennifer Simard as Sarah, Terence Archie as Larry, Grammy Award winner Etai Benson as Paul, Nikki Renée Daniels as Jenny, Claybourne Elder as Andy, Greg Hildreth as Peter, Rashidra Scott as Susan, and Bobby Conte Thornton as P.J. The complete cast of Company also includes Kathryn Allison, Britney Coleman, Javier Ignacio, Anisha Nagarajan, Tally Sessions, and Matt Wall. Casting for the role of Theo will be announced in the coming weeks.

Company, the musical comedy masterpiece about the search for love and cocktails in the Big Apple is turned on its head in Elliott’s revelatory staging, in which musical theatre’s most iconic bachelor becomes a bachelorette. At Bobbie’s (Lenk) 35th birthday party, all her friends are wondering why isn’t she married? Why can’t she find the right man?  And, why can’t she settle down and have a family?  This whip smart musical comedy, given a game-changing makeover for a modern-day Manhattan, features some of Sondheim’s best loved songs, including “Company,” “You Could Drive a Person Crazy,” “The Ladies Who Lunch,” “Side by Side,” and the iconic “Being Alive.”

Sondheim and Elliott have collaborated to update this masterpiece, bringing Bobbie’s array of friends and lovers unswervingly into the 21st century: Paul (Etai Benson) is waiting patiently for his fiancée Jamie (nee “Amy,” played by Matt Doyle) to get over his increasingly frantic wedding day jitters. Sarah (Jennifer Simard) struggles with her body image while her husband Harry (Christopher Sieber) struggles with sobriety – their marital tensions bubbling just under the surface. Joanne (Patti LuPone) is taking a third try at marriage with Larry (Terence Archie), the object of his wife’s affections … and savage barbs. Peter (Greg Hildreth) and Susan (Rashidra Scott) seem to have the perfect marriage, until perfection proves impossible. Sophisticated David (Christopher Fitzgerald) and his square wife Jenny (Nikki Renée Daniels) can’t wrap their heads around Bobbie’s perpetually single status and aren’t shy about expressing their concern. All while Bobbie juggles three men: Andy (nee “April,” played by Claybourne Elder), the sexy flight attendant, Theo (nee “Kathy,” casting to be announced), the small-town boy trying to find his way in the city, and P.J. (nee “Marta,” played by Bobby Conte Thornton), the native New Yorker who’s head-over-heels for his hometown.

The creative team for Company includes Liam Steel (choreography), Joel Fram (musical supervisor), Bunny Christie (set and costume design), Neil Austin (lighting design), Ian Dickinson (sound design), David Cullen (orchestrations), Sam Davis (dance arrangements), Chris Fisher (illusions), Campbell Young Associates (hair, wig, and makeup design), and Cindy Tolan (casting).

Company was in sell-out preview performances when on Thursday, March 12, 2020, the COVID-19 crisis forced the shutdown of all Broadway theaters.

Company is produced on Broadway by Elliott & Harper Productions, The Shubert Organization, Catherine Schreiber, Nederlander Presentations, Inc., Crossroads Live, Annapurna Productions, Hunter Arnold, No Guarantees, Jon B. Platt, Michael Watt, John Gore Organization, Tim Levy, Grove•Reg, Hornos•Moellenberg, Being Alive Productions/ Ben Lowy, LD Entertainment/MWM Live, Daryl Roth/Tom Tuff, Salmira Productions/Caiola Productions, Adler•Federman•Levine, Aged in Wood/Lee•Sachs, Beard•Merrie•Robbins, Berinstein•Lane /42nd. club, Boyett•Miller/Drew Hodges, Finn•DeVito/Independent Presenters Network, Armstrong•Ross/Gilad•Rogowsky, Boardman•Koenigsberg/Zell•Seriff, Concord Theatricals•Sanders Productions/ Abrams•May, DeRoy•Brunish/Jenen•Rubin, Fakston Productions/ Sabi•Lerner•Ketner, Maggio•Abrams/Hopkins•Tackel and Jujamcyn Theaters.

State Approvals

The anticipated return of Broadway performances is subject to the approval of the NY State Department of Health and the Governor based on the continuing growth of the fully vaccinated population, coupled with an ongoing decline in total Covid 19 cases and positivity rates.

The Department of Health and the Governor will review and approve health protocols in the theater established by the theater owner to assure that the highest safety standards are in place.

Safety Protocols

Broadway is committed to providing healthy and safe facilities for audiences, performers, and staff. Based on CDC and New York State guidelines at the time of performance, protocols may include mask enforcement, vaccination, or negative test verification, and more as developed by the theater owners in conjunction with the State.

New protective systems – including sanitization and filtration requirements – will be implemented by the theater to align with federal and state recommendations, and if any regulations change, the theater will follow state, and federal guidelines to maintain safety for all. 

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Company announces new broadway dates and additional casting

Company

Today, producers of the upcoming revival of Stephen Sondheim and George Furth’s landmark American musical Company, under the direction of two-time Tony Award® winner Marianne Elliott, announced that the visionary award-winning new production will now begin performances one month earlier than previously scheduled with preview performances resuming on Monday, November 15 ahead of a Thursday, December 9 opening night at the Bernard B. Jacobs Theatre (242 West 45th Street).

Tony Award winner Katrina Lenk and two-time Tony Award winner Patti LuPone will be joined by returning Broadway cast members Matt Doyle as Jamie, three-time Tony Award nominee Christopher Fitzgerald as David,  two-time Tony Award nominee Christopher Sieber as Harry, Tony Award nominee Jennifer Simard as Sarah, Terence Archie as Larry, Grammy Award winner Etai Benson as Paul, Nikki Renée Daniels as Jenny, Claybourne Elder as Andy, Greg Hildreth as Peter, Rashidra Scott as Susan, and Bobby Conte Thornton as P.J. The complete cast of Company also includes Kathryn Allison, Britney Coleman, Javier Ignacio, Anisha Nagarajan, Tally Sessions, and Matt Wall. Casting for the role of Theo will be announced in the coming weeks.

Tickets are available at www.companymusical.com, www.telecharge.com, or by calling 800 447 7400. As part of the “Buy With Confidence” ticketing policy, ticket holders who wish to exchange for these earlier performances can contact their point of sale to reschedule.

Director Marianne Elliott said, “We always wanted to bring Company back as soon as possible and when the opportunity was presented to start performances a month earlier, we knew we had to jump on it. This production has always been about bringing people together to share in laughter, joy, and friendship and I’m beyond thrilled that we are able to reunite almost all of our remarkable cast to make this happen.”

Producer Chris Harper said, “There were 135 people working on Company when the shutdown happened. Knowing that this many people are counting on the show coming back as soon as possible has been a huge motivator for us. So, when the schedules of a number of key creative team members made this possible, it was a no brainer. We had to make it happen. This is a musical about the one thing we have all been missing – company –so to be back on Broadway even sooner feels great.”

Company, the musical comedy masterpiece about the search for love and cocktails in the Big Apple is turned on its head in Elliott’s revelatory staging, in which musical theatre’s most iconic bachelor becomes a bachelorette. At Bobbie’s (Lenk) 35th birthday party, all her friends are wondering why isn’t she married? Why can’t she find the right man?  And, why can’t she settle down and have a family?  This whip smart musical comedy, given a game-changing makeover for a modern-day Manhattan, features some of Sondheim’s best loved songs, including “Company,” “You Could Drive a Person Crazy,” “The Ladies Who Lunch,” “Side by Side,” and the iconic “Being Alive.”

Sondheim and Elliott have collaborated to update this masterpiece, bringing Bobbie’s array of friends and lovers unswervingly into the 21st century: Paul (Etai Benson) is waiting patiently for his fiancée Jamie (nee “Amy,” played by Matt Doyle) to get over his increasingly frantic wedding day jitters. Sarah (Jennifer Simard) struggles with her body image while her husband Harry (Christopher Sieber) struggles with sobriety – their marital tensions bubbling just under the surface. Joanne (Patti LuPone) is taking a third try at marriage with Larry (Terence Archie), the object of his wife’s affections … and savage barbs. Peter (Greg Hildreth) and Susan (Rashidra Scott) seem to have the perfect marriage, until perfection proves impossible. Sophisticated David (Christopher Fitzgerald) and his square wife Jenny (Nikki Renée Daniels) can’t wrap their heads around Bobbie’s perpetually single status and aren’t shy about expressing their concern. All while Bobbie juggles three men: Andy (nee “April,” played by Claybourne Elder), the sexy flight attendant, Theo (nee “Kathy,” casting to be announced), the small-town boy trying to find his way in the city, and P.J. (nee “Marta,” played by Bobby Conte Thornton), the native New Yorker who’s head-over-heels for his hometown.

The creative team for Company includes Liam Steel (choreography), Joel Fram (musical supervisor), Bunny Christie (set and costume design), Neil Austin (lighting design), Ian Dickinson (sound design), David Cullen (orchestrations), Sam Davis (dance arrangements), Chris Fisher (illusions), Campbell Young Associates (hair, wig, and makeup design), and Cindy Tolan (casting).

Company was in sell-out preview performances when on Thursday, March 12, 2020, the COVID-19 crisis forced the shutdown of all Broadway theaters.

Company is produced on Broadway by Elliott & Harper Productions, The Shubert Organization, Catherine Schreiber, Nederlander Presentations, Inc., Crossroads Live, Annapurna Productions, Hunter Arnold, No Guarantees, Jon B. Platt, Michael Watt, John Gore Organization, Tim Levy, Grove•Reg, Hornos•Moellenberg, Being Alive Productions/ Ben Lowy, LD Entertainment/MWM Live, Daryl Roth/Tom Tuff, Salmira Productions/Caiola Productions, Adler•Federman•Levine, Aged in Wood/Lee•Sachs, Beard•Merrie•Robbins, Berinstein•Lane /42nd. club, Boyett•Miller/Drew Hodges, Finn•DeVito/Independent Presenters Network, Armstrong•Ross/Gilad•Rogowsky, Boardman•Koenigsberg/Zell•Seriff, Concord Theatricals•Sanders Productions/ Abrams•May, DeRoy•Brunish/Jenen•Rubin, Fakston Productions/ Sabi•Lerner•Ketner, Maggio•Abrams/Hopkins•Tackel and Jujamcyn Theaters.

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