Was not expecting this! It deserves to be immortalized as Sondheim's final piece that he worked so closely on. Wishing a cast recording or pro-shot would do that, but feeling those hopes dashed. Alas, it was wonderful and I'm glad I got to see it. Hopefully will get back once more.
Jordan Catalano said: "There’s also something sad about the last musical that Sondheim saw, being gone."
If he were still alive, he would not want this to close this soon! He would want this version to last a very long time!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Anyone with august tickets I feel your pain, I had tickets for mid-August as well. I am from NY but am currently living in SoCal and can't change my plans for just one show - really heartbroken though. This was the thing I was excited for most other than Into the Woods. Honestly shocked that it's closing after all its Tony wins.
broadwayboy223 said: "Can't think of a single reason why this needs to close now. And the lack of proshot and cast recording just seem like really big missteps to preserve a historic and iconic revival?"
Marianne Elliot's historic gender swapped revival of Company does have a cast recording. Sure it would be nice to hear the Broadway cast, but they already chose to record the production when it ran in London, and it makes little sense to cough up the cash re-record it.
So sad to hear it’s closing so soon after the Tony sweep, but, happy to hear it will tour in 2023-24. I saw it in May and was hoping to make another trip home to see it again.
Damn. We knew it wasn't doing fabulously, but I was hoping it would gegt a big enough bump to last a bit longer. Sigh.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Not trying to start a fight, but we don’t need to be reminded EVERY time that there’s a London cast recording. We clearly know that, but the album subpar in every way compared to what is heard on Broadway. The orchestra sounds small and low on the album and every performance is better on Broadway.
I'd prefer a proshot to a cast recording, if we're wishing for things. I can't believe these brilliant performances will be lost to time.
"This table, he is over one hundred years old. If I could, I would take an old gramophone needle and run it along the surface of the wood. To hear the music of the voices. All that was said." - Doug Wright, I Am My Own Wife
ljay889 said: "Not trying to start a fight, but we don’t need to be reminded EVERY time that there’s a London cast recording. We clearly know that, but the album subpar in every way compared to what is heard on Broadway. The orchestra sounds small and low on the album and every performance is better on Broadway."
It may be inferior, but you also have to admit that we often live in a Broadway World fantasy land where we pretend that money isn't a thing, and it makes sense to add on another recording to the five already in existence.
Finding the London recording inferior doesn't make another recording financially viable, and the changes were still preserved for posterity, so if this version licensed, there is a reference. Pretending the recording doesn't exist, and yes many here seem to do just that, isn't going to make it go away and a new one come into existence. I don't mean to come off as a prick, but Broadway World has a way of... well, being Broadway World about these things.
I originally read the article wrong and thought they were extending it through next year but guess they're closing way early now. I was going to try to rush this week but cancelled my NYC trip so guess I'll just wait for it to tour.
I first saw COMPANY when it opened on Broadway in 1970. I saw it many times since then, including the 1990 20th anniversary performance with Dean Jones blowing the roof off the Beaumont. And amazingly, Steve Sondheim allowed me to produce a two-week revival, as a benefit for BC/EFA some years ago. Luckily I got back to NYC this month to see this amazing revival (I had seen the production in London a few years ago).
I felt sure that the major Tony wins would carry it along for some time, but sadly no. I'll hope that the tour makes it out to LA next year.
Bought a ticket to the final show. This news is extremely sad. The loss of Stephen Sondheim didn't really hit me until this closing announcement. It really feels like there's a part of him still alive in this production.
jimmycurry01 said: "ljay889 said: "Not trying to start a fight, but we don’t need to be reminded EVERY time that there’s a London cast recording. We clearly know that, but the album subpar in every way compared to what is heard on Broadway. The orchestra sounds small and low on the album and every performance is better on Broadway."
It may be inferior, but you also have to admit that we often live in a Broadway World fantasy land where we pretend that money isn't a thing, and it makes sense to add on another recording to the five already in existence.
Finding the London recording inferior doesn't make another recording financially viable, and the changes were still preserved for posterity, so if this version licensed, there is a reference. Pretending the recording doesn't exist, and yes many here seem to do just that, isn't going to make it go away and a new one come into existence. I don't mean to come off as a prick, but Broadway World has a way of... well, being Broadway World about these things."
That's a lot of words to say absolutely nothing. Seriously, ljay889 should just copy and paste the exact same comment as before, because it remains a fitting rebuttal to your argument of nothing.
No one is arguing the financial viability of a new recording. We are simply stating that, on the basis of artistic worth, this specific production deserves one. That's it. Saying the London production was recorded is irrelevant because it is not this specific production with this specific cast, which is what people are commenting on. (Bringing it up is also unnecessary, as ljay pointed out, because everyone knows. It's not ignorance of a different recording that's leading so many to request this one.) Saying it wouldn't be financially viable is also irrelevant, because no one is arguing that it would be. They are simply saying they would like a recording of this production and mourning the possibility since it is unlikely to be. Telling them they're wrong to want such a thing because it's expensive is unnecessary, and frankly, tacky.
It's okay to let people feel sad about something--or feel anything really--without trying to rebut their feelings.