It's not on the outrage charts like the collective Chenowethian gasps, but was anyone else startled to see Jonathon Tunick take two orchestration slots, shutting out M-M Campbell? I remain loyal to the original arrangements (Mr. Tunick's, curiously), but think she did a masterful job of re-conceiving the sound of the show. The 110 orchestrations did not strike me as a radical departure from the Hershey Kay orignals.
Dude, her name is Mary-Mitchell Campbell.
It's a Tony meltdown that she wasn't nominated.
I really think she deserved a nomination, but I'm not really surprised since people have been divided on the reduced Company orchestrations all season.
Whoops. Thanks, I dood it over, dude.
This pisses me off. A lot. She deserved one. Her work for the show is fantastic; the orchestrations are just beautiful.
In other news, with only three nominations, that show is... well, totally ****ed.
I don't know - to be honest, I don't love COMPANY's new orchestrations they way I loved SWEENEY's. They're just okay for me.
I loved these orchestrations even more than Sweeney's. I actually prefer them to the original ones.
It's a shame...I think this show really got the short end with the nominations. It deserved a lot better, and I'm worried about how much longer it will be open.
Broadway Legend Joined: 12/31/69
I thought the orchestrations for COMPANY sounded very thin. Different? Yes. Unusual? Yes. Good? No.
Broadway Legend Joined: 7/16/05
I'm with Munk. It is always commendable to see someone completely put new effort into an older score, although I don't really think they were too fantastic. It worked with the concept of the show, more like as an experience, but ultimately left me unfulfilled. I think Sweeney's were better overall, even if these "worked" more for the show.
Call me a fangirl, but I would've nominated her for 'You Could Drive A Person Crazy' alone. Ah well. Despite a mere three nominations, I will still fly the Team Company flag come June 10th. Goddammit but these were disappointing nominations from a 'Company' fangirl perspective.
I'll wave it with you.
I don't think the orchestrations sounded as 'altered' as SWEENEY's. Also, I think the playing of the cast was less polished than SWEENEY's company. They may have been great orchestrations, but were marred by playing that wasn't completely clean...so who can really tell?
That said, I really was terrifically surprised by how much I liked COMPANY (didn't love SWEENEY). I thought it just worked better as a whole. And the last 20 minutes, including Walsh's spectacular LADIES WHO LUNCH through to the end, were some of the best I've experienced this season.
Esparza was pretty terrific in a cypher of a role. But I do think it's a shame that Walsh's wonderful turn was overlooked. Especially since I think one of the reasons Esparza was so good was because of the work she did with him in that final scene of theirs.
Go, teamCompany! Flags across the city!
There's an image.
I've always been proud to support this show. Today doesn't change that.
Em - you are right. I was annoyed by the low number of nominations, but I still think this show is sadly overlooked. I love it. Guess I better stock up on tickets while I can.
"I loved these orchestrations even more than Sweeney's. I actually prefer them to the original ones."
Here here!
I was a little disappointed to learn she was not nominated. I thought they were beautiful and took the show out of the 70's. Plus it matched the staging perfectly. I thought she had a good shot at winning.
MMC is a total sweetheart. Besides being one of the few women musical directors on Broadway and teaching at Julliard, she finds time to run a non-profit: Artists Striving to End Poverty (ASTEP).
The fact her creativity wasn't recognized by the Tony nominators for Company will be a small footnote in the long career she has ahead of her. It is still insane, IMHO.
A STEP's website
Agreed! And additionally, congrats to her on the Drama Desk!
I have to agree with even who says that she deserved the Tony nom. Out of all of the musicals this season, both new and revival, I was the most impressed by Company.
I think they're so-so orchestrations. She deserved a nod over Tunick's orchestral reduction of 110 in the Shade (He's brilliant, but his work was medicore on that.) or Spring Awakening. I loved Sweeney Todd's new orchestrations though. However, Tunick's work on Company was so superb, it's hard not to wish you were hearing the original when you're hearing something that isn't.
I was actually very upset.
I'm one of the few who prefers Doyle's Company to his Sweeney. I think that the reduced orchestrations worked for both, but I really loved how it was done with Company. The instruments actually played a part in the production this time, as opposed to Sweeney. I would've preferred Company get a Best Orchestrations nomination over Spring Awakening.
I loved her work on SWEENEY, not at all on COMPANY.
It sounded weak on such a great score and it didn't help that the so called actors/musicians were very sloppy in playing it.
She is a wonderful artist and will do very well without the nom this year.
Curtain- Campbell didn't win for SWEENEY TODD, that was Sarah Travis.
Videos