"Company" Original (or current) Score Vs. 1996 Score

Someone is Waiting (Original) - F#
Someone is Waiting (1996) - E

Being Alive (Original) - (ends in) E
Being Alive (1996) - (ends in) Db

As you can see, Bobby was lowered for the 1996 revival. Conversely, Raul Esparza sang higher keys in the last Broadway revival.

Thank you from this quarter, Sondhead. Just yesterday on another thread I quoted an actor friend of mine who said the keys were lowered in 1996. My friend is a very reliable guy, but I'm glad to have the confirmation.

Do I ALWAYS have to do your research, Eric?

(THAT WAS TOTALLY A JOKE. Eric's question is entirely appropriate to a casual conversation such as this.)

I thought it was Boyd Gaines, but looked it up to be sure. It was and, though I'm not an expert, I think of Boyd Gaines as a baritone, yes.

BTW, IBDB says the production was in 1995. Not 96 and not that I care.

My friend, you are too young to lose decades so easily. You need to cherish them for those of us with one foot in the grave. Trust me, time will only fly faster from now on. (I was shocked, too. It seems like only yesterday, Boyd Gaines was mounting the podium to accept his Tony Award for the role.)

(ETA this post is incorrect. Gaines did not win the Tony for his COMPANY revival. Thanks to After Eight for pointing out my error.)

You are so much better informed than I, I trust everyone will get the "research" joke.

Updated On: 8/13/12 at 09:28 PM

I had the eeriest moment when watching the FOLLIES revival in LA: I suddenly realized that more time has passed since I saw the OBC than has passed since Sally and Phyllis were in the Weisman Follies! More by a full decade!

Updated On: 8/13/12 at 09:51 PM

Well, no wonder it seems like yesterday since I invented it out of whole cloth today!

Thank you for the correction, After Eight. I should have checked before I posted it.

Not that I know of, but I didn't know about an edition like that for Night Music, so am the wrong person to ask (I do own Sweeney's). I'll have to try to seek out Night Music.

The post Sweeney Scores were prepared from Sondheim's piano scores at first publication, so they have no need for another edition unless there are errors or additional material that I'm not aware of, which is certainly possible. Anyone Can Whistle, Company, Follies and Pacific Overtures are the scores of his that have not yet been published in editions prepared from his original piano scores. It's an interesting trade-off--when prepared as a reduction of the orchestration, you get a score that matches the licensed version (usually). When they are prepared from his piano scores, they are more difficult to use in conjunction with a production because they often differ from the licensed score in little ways. Everything from a measure added or deleted here or there, to different keys (Johanna in Sweeney Todd, for instance) to completely different sections (the ending to A Weekend in the Country). However, they offer an interesting window into his writing process and from an academic point of view it's nice to be able to see the "pure" Sondheim score as he prepared it. The nerd music director in me likes to have these as a resource. For most other composers, one would have to go to a research library or check with the composer/composer's estate to look at this stuff.

As for Bobby's voice part, it should be noted that it was originally written to be a baritone. Boyd Gaines tips the scales more to Bass-Baritone, but let's remember the show was written in 1970 when leading men were still baritones. If it were written now it would definitely be a tenor, so it should come as no surprise that recent productions change keys to make him one.

And if we're quibbling details (and why not. This is a total nerd thread if ever there was. At least this post freaking is.) 1996 is technically the correct year for the version we are discussing, as MTI actually licenses an amalgamation of both the 1995 Broadway Revival and 1996 London Revival scripts. That being said, the score appears to use the Boyd Gaines keys.

Updated On: 8/14/12 at 02:50 AM

I guess I should say he's a Bari-tenor. He does top out at an Ab (in both the opening and Being Alive) which is a little higher than a true baritone would be singing. However, the tone and color of his voice is all baritone, so I wouldn't really ever say that Bobby was written to be a tenor. It should also be noted that while he tops out at an Ab, his part doesn't really live up there much on the whole.

And again, Raul sang his solos up a step or so from the original keys, and I would expect that most modern Bobbys would feel more comfortable singing in those keys. Everybody is singing way higher these days than they were.. well, even 10-20 years ago, much less 1970.

Updated On: 8/14/12 at 03:15 AM

Yes, indeed, Sondhead, thank you for the info. I think as soon as one logs in here, one has set sail on the "Good Ship Nerd". So no apologies necessary.