With those lyrics by Stephen Sondheim in 1970 sung to his music, a new style of Broadway musical was born. Controversial even then because of subtle undertones of homosexuality and the swingin' life of the New York well-to-do, "Company" went onto become another stepping stone towards the modern musical, and 40 years later, still produces great debates and conversations over musical aficionados of every age, gender, race, and sexual persuasion.This brief concert production was jam-packed with talent, and some of them fare better than others. Any production of "Company" will be compared (as his next show, "Follies") to the original, and anybody who takes on the basically supporting role of Joanna will be compared to the incomparable Elaine Stritch. Bobby, the leading character, will always be subject to great scrutiny of his sexuality. A single male, living in Manhattan in the late 60's/early 70's, dating many women, yet not settling down, may find himself compared to "The Boys in the Band", yet Bobby isn't some self-hating bitchy queen "barely alive": he is searching for "Being Alive!", his 11:00 anthem of survival in a society that is dealing with changing relationships and his many friends who desperately are trying to get him attached.Here, Bobby is Neil Patrick Harris, one of the great wonders of the millennium, a former child star who has made it past those "Doogie Houser" days and is now called to host practically every award show there is. Not afraid to make fun of his own sexuality, yet also not afraid to play heterosexual as well, Harris is a charming performer who has continued to work in practically every medium, returning to the stage as his schedule permits. He is also ageless, about a decade too old for Bobby in years, yet still youthful that he can take the role on and appear to be in his early 30's. He is also masculine enough to portray straight, although subtle hints about his character's possible sexuality are hinted at by others around him. Sometimes, however, the orchestra and Harris seem to be out of tune with each other, mostly evident in the opening number. As this was a live show and only had a handful of performances, glitches are expected, and by the time Harris gets to "Marry Me a Little" and "Being Alive", those issues have been cleared up.The other glitch in singing comes during "You Could Drive a Person Crazy", the three singers all so different that the trio isn't as polished as it could have been. Anika Noni Rose really rips "Another Hundred People" apart, and like the equally diminutive La Chanze (from the 1995 Roundabout Production which I saw), brings the rawness out of this 1970's New York Anthem about the "City of Strangers". Martha Plimpton is also very funny as the wife who warns her self-defense teaching husband that "it can't be blocked", and proves herself right.Many major divas, from Jane Russell, Vivian Blaine, Julie Wilson, Carol Burnett, Debra Monk, Judith Light and Barbara Walsh, have taken on the role of the show's most famous "guest": the much divorced Joanne, the "I'll Drink to That!" socialite demanding "Another Vodka Stinger!". Here, it is Patti LuPone, and when she rips into "The Ladies Who Lunch", you swear you are living theater history. Joanne is basically a supporting role, but gets more musical numbers than the others (including "The Little Things You Do Together" and a scathing line regarding one of Bobby's dates in "Poor Baby") and with LuPone in the part, that factor remains.I can't call this the quintessential "Company", although the staging at Lincoln Center's Avery Fisher Hall (sight of the 1985 "Follies" concert) is perfect for what it is. As the 2007 Broadway revival is also available commercially (with the actors playing instruments as well as singing), there is a "let's compare" temptation. But any filmed production of a Sondheim show (or any Broadway show for that matter!) is welcome, and makes you wish for more.

To me, Sweeney Todd will always be Stephen Sondheim's masterpiece. However, Company still shows a master at work, full of his challenging but truly inventive music(both in orchestral and vocal) and intelligently clever lyrics. While still demanding for the performers, in a way it is a little more accessible than Sweeney Todd. The story is also great in Company, it is always very entertaining, with truthful yet sometimes cynical observations on relationships, but it's also an emotional journey, with complex, deeply flawed and fully fleshed characters. This 2011 performance is a wonderful performance in every way. It looks good and stays true to Sondheim's idea of concept musical, and while some of the staging is somewhat minimalist it is very compelling as well and does a great job at making the characters and their relationships interesting and relateable. Sondheim's score is as you'd expect from him a powerhouse, it is very difficult to pick out a favourite song as they're all so good though The Ladies Who Lunch and Another Hundred People are definite contenders. The orchestra play magnificently throughout, and the conducting keeps things together without anything noticeable going awry. It was difficult to fault the performances either. Neil Patrick Harris' Bobby is sensitive and very charismatic, his rendition of Being Alive is emotionally heart-breaking. Patti LuPone comes very close to stealing the show with The Ladies Who Lunch bringing the house down, while her voice isn't the most beautiful it is still thrillingly volcanic and her acting is right on the money. Anika Noni Rose characterises beautifully and her Another Hundred People is exhilarating. The haunting simplicity of Christina Hendricks' Barcelona comes through too, Martha Plimpton has a beautiful voice and is an even better dancer, Kate Finneran is very funny in Getting Married Today and Chryssie Whitehead does Tick Tock so nimbly and so well that you are tempted to join her. All in all, a wonderful performance that succeeds hugely in every department. 10/10 Bethany Cox

Unfortunately this musical stills suffers from the fact that the 'book' by George Furth (and little has been changed) is still quite weak. Considering both Sondheim and Furth are gay, the men's parts are incredibly weak, and the situations are clichéd. The performances likewise are the best by the women with the men pretty much taking up space in the background. As to Harris, well, his acting is decent enough, but his voice is rather thin for the material...and he hits a few 'clinkers'. Where is Dean Jones when you need him? Sondheim writes difficult stuff for the average Broadway singer, and 99% of the classical singers can't act, so at best the result is unsatisfactory...like the film version of 'Sweeney Todd'. By the way I did play David myself a long time ago, and I disliked the show then (the book mainly). I've done many musicals, and this is the one I remember with the least affection. I've often thought it might be interesting to do a modern interpretation with all gay couples...and not so incredibly 'white'. The leading character is obviously a model for a '70's gay man.

According to actor Neil Patrick Harris, the cast of "Company" had slightly more than a week of rehearsal time prior to its short run of performances at Lincoln Center's Avery Fisher Hall. One of those shows was filmed for release in movie theaters. The small but appreciative audience in one of those screenings in Minnesota was treated to a high-energy interpretation of the Stephen Sondheim musical: ensemble performing at its finest.The book for "Company" has undergone a thorough rewrite from the original 1970 version, resulting in dialogue more attuned to the new millennium. As the couples interact with the bachelor protagonist Robert, the themes of marriage, divorce, loneliness, and life in the big city emerge in a montage of scenes built around some of most memorable music and lyrics ever written by Sondheim. This production was not "fluff," but a meaningful exploration of love, marriage, and the search for happiness in the stressful modern age.This production isolated the performers on the forestage of the large Avery Fisher Hall. Supported (but not overwhelmed) by the magnificent New York Philharmonic Orchestra, the cast of "Company" brought the characters to life with a dazzling set of creative choices and physical routines. Many of the bits of business were undoubtedly the ideas of the skillful director Lonny Price. The potentially static horizontal plane was occasionally broken when performers interacted with the orchestra and the conductor, adding to the ensemble effect. For the filmed version, the camera work was superb, especially with close-ups. It was like being on the stage with the actors.The cast obviously worked tirelessly on subtleties of performance and honesty in the emotional life of their characters. Along with his fine vocal technique, Harris evoked a sensitive character interpretation, and the other performers followed his lead. Every viewer will have a "favorite" performer in this production. It was clear that the live New York audience adored the crusty character of Joanne, as played by Patti LuPone. My favorite was Martha Plimpton's character of Sarah, due to the performer's adroit physical choices in the karate scene and her beautiful singing voice. There was also a "surprise" ending in a special touch that transformed the overall meaning of the musical from the original 1970 version. But there are no spoilers in this review. You will have to seize the moment and experience this unique production for yourself for that ending.The range of abilities in this talented cast cannot be overstated. Technically, the Sondheim songs are not easy. The effortless vocal interpretations, the challenging choreography, and the depth of feeling in the characters made the $18 cinema ticket price a bargain for this once-in-a-lifetime opportunity. This is the kind of company I like to keep.