another hundred people - company

Can anyone tell me more about the musical Company from stephan sondheim, and especially of the song another hundred people. What is it about, who is singing the song, and why she sings it. Thanks.

thanks for your quick reply!

Can you tell me more about Marta?

No big deal but just for future reference his name is spelled Stephen as opposed to Stephan. You got the Sondheim part right, though, so kudos!

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Didn't you hear? In an attempt to be "head gay", Sondheim has changed it to Stephan.

I think that is an extremely debateable point. Many people consider it to be Sondheim at his best. Some of his most clever lyrics and song structure prevail in the show. "Side By Side By Side" being an example of both. There are also fantastic numbers such as "Being Alive" ; "The Ladies Who Lunch" ; "Getting Married Today" ; "Barcelona" and the title number.

This was one of the first (if not the first) "concept" shows on Broadway. Focusing on an idea rather than a plot. In that sense the show was revolutionary.

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I only once listened to the cast album, and I think I will like the how onstage. But I know also alot of people who didn't like it at all.

But I have to sing another hundred people for my musicaltheatre -exam. So for now I have to concentrate on that song.

It was so powerful a statement about marriage in its time, that it even caused its original star, Dean Jones (who was having marital problems at the time) to drop out - to be replaced by the terrific Larry Kert. Dean and I had discussions about this...it was a very difficult piece to do - and for him, all the more so.

Sondheim and Furth have updated and rewritten it somewhat on and off through various incarnations (Roundabout, Donmar, Kennedy Center, etc.) and Sondheim felt that he saw "Bobby" most clearly really for the first time himself when John Barrowman played the role at the Kennedy Center Sondheim season several years ago.

Barrowman was thrilled with Sondheim's tearful reaction and only wishes he had had a tape recorder running when Sondheim spoke with him at length about his performance in his dressing room.

Jonathan Schwartz, radio preserver of the Great American Songbook, just this weekend opined that "Company" was one of the Sondheim musicals which would not endure ... and not be the classic which some of Sondheim's other musicals have become because the way people see relationships has changed (and will change) too much to make "Company" relevant in the future.

This from the same man (Schwartz) who slammed Linda Eder mercilessly today on his radio program... and explained why he won't play her records (without admitting that he used to play her) by reading Steve Holden's N.Y. Times unfavorable dismissal of Eder as a mediocre Star Search type winner in his review of Linda's Carnegie Hall Judy Garland tribute concert last week.
When Schwartz did play Eder singing Garland from the new CD several weeks ago, it was only to dismiss her and her tribute to Judy as being pointless and unnecessary.

Sorry, I disagree on both points --- Eder is thrilling and so is "Company" - and having seen it dozens and dozens of times from day one - in all kinds of productions, good and bad, faithful and weird - around the world...it remains one of Sondheim's most interestingly vibrant works.

But then, everybody has their own favorites - and "Company" just happens to be mine because I have so many happy memories involving various productions of it. Maybe to someone younger or not in the same kind of relationships...it would seem dated. So be it.

But I can't get on or off a train or subway in NYC without thinking "Another Hundred People......!"

I guess people don't believe in reading on these boards.

fiatlux, if you go back and look at my longer post in this thread, you will notice why it can be desribed as dry. I stated that, aside from the absence of plot, there is not much in the way of purpose or argument; that is, nothing seems to really happen in the piece. Some of the songs are decent and certainly grow in appeal over time, but the show is more of a collection of "skits" (eeks--hate that word) than an actual story worth telling.

The excessive length of the piece, it's inability to connect with some of its audience, and its vague propositions don't lend themselves well to the production. Hence, it is often considered dry and "boring".

Updated On: 11/13/05 at 03:41 PM

YOU consider it dry and boring. That is fine. Many people feel differently, Which also, is fine.

Well, some on this board feel like their opinion is the END ALL. Not you, but some do, so please understand when some people get a little huffy when an "I think" isn't present. Sure it's a chore, but I've found my opinions get listened to more when I preface it with the "I think/I feel" statement.

"fiatlux, if you go back and look at my longer post in this thread, you will notice why it can be desribed as dry. I stated that, aside from the absence of plot, there is not much in the way of purpose or argument; that is, nothing seems to really happen in the piece. Some of the songs are decent and certainly grow in appeal over time, but the show is more of a collection of "skits" (eeks--hate that word) than an actual story worth telling."

I appreciate that this is your point of view and it is perfectly reasonable to express it. I, however, don't recognize your description as this has not been my experience of the show, that is why I don't understand why it "could" be described in such a manner. Merely making the assertion doesn't really help in my understanding.

I think of Company more as a quilt of ideas, rahter than a piece where every scene/song/moment leads to a big theme.

Updated On: 11/13/05 at 05:04 PM

I always see Company as a show about a man on the threshold of a decision and we join him more or less as he is reviewing his life. Therefore, the approach of having seemingly disconnected moments in his life flashing in front of the audience is as disorientating for them as it is for him. I find that an exciting idea.

The various vignettes are, in the main, well-written character studies of various facets of marriage, singledom and life in the city - the pot scene for instance, is a nice view of the dynamics of a passive/aggressive relationship.

Sondheim provides some amazing songs - the title number which has to be one of the most exciting openers (both to perform and watch, The Ladies Who Lunch, Side by Side and the plaintive Being Alive - make up a very impressive score, that comments upon and underpins Robert's journey to his decision.

I don't think I've ever found it overlong, but I suppose if you're not enjoying a piece of theatre than any length is too long - but running at a little over two hours, can't really be described as excessive.

These are just a few of the reasons that I love Company a great deal and I regard it as a landmark in musical theatre history.

These views are personal and obviously an expression of my feeling for a piece of theatre that means a great deal to me and that has affected me deeply.