On behalf of all members of The Stephen Sondheim Society, we’d like to wish a very happy birthday to our patron, Steve. Many happy returns!
On behalf of all members of The Stephen Sondheim Society, we’d like to wish a very happy birthday to our patron, Steve. Many happy returns!
Don’t miss the chance to hear some of the West End’s best talents performing their favourite Sondheim numbers this coming Monday 13th March. The Stephen Sondheim Society Presents… returns with Tim McArthur and Aaron Clingham, joined by guest stars Valerie Cutko, Robert Irons and Madeleine MacMahon.
BOOK HERE NOW! At just £15 a seat, or £12 for Sondheim Society members, it’s great value, and a delightful way to pass an otherwise miserable Monday night!
VALERIE CUTKO has appeared in the West End as Fraulein Kost in Cabaret, Madame Egorova in Beautiful and Damned, Marlene Dietrich in Piaf and The Queen of Transylvania in My Fair Lady (National Theatre, Theatre Royal Drury Lane and for the BBC Proms at the Royal Albert Hall). She played Madame Giry in The Phantom of the Opera (UK Tour), Mrs Mullin in Carousel at the Arcola Theatre, Ninotchka in Silk Stockings in a Sadler’s Wells’ concert staging, a role she reprised with an American cast in Manhattan, and Rafaella in Grand Hotel at the Southwark Playhouse, the role she took over in Tommy Tune’s original Broadway production. She most recently appeared as Emma Goldman in Thom Southerland’s production ofRagtime at the Charing Cross Theatre.
Films include Les Misérables and The Phantom of the Opera. Television includes The Robinsons and Material Girl, and radio, Tales Of The City, The Midnight Cry Of The Deathbird and The Gobetweenies (all BBC).
Valerie wrote Eva and Eve, a winner of the Soho Theatre’s Westminster Prize for New Writing, and 9 Etudes, shortlisted for the same award. Her short play Windmill Street featured at the International Playwriting Festival at Croydon’s Warehouse Theatre, and her libretto and lyrics for the “jazz soliloquy” Who is Sinclair Nye? were praised by quarterly magazine Musical Stages as a “totally engrossing, beautifully written piece of theatre”.
An alumnus of the International Cabaret Conference at Yale, she was featured soloist in at the Sporting Club in Monte Carlo and has performed in cabaret at Birdland, the St James Studio, Jermyn Street Theatre and Lauderdale House.
ROBERT IRONS trained at LAMDA. Theatre in London includes: The Truth(Wyndham’s); Sweeney Todd (Adelphi); Monsieur Andre in Phantom of the Opera (Her Majesty’s); Giles Ralston in The Mousetrap (St Martin’s); Hugh Chalcot in Ours (Finborough); Angel Clare in Tess Of The D’Urbervilles(Savoy); Ralph Rackstraw in HMS Pinafore (Covent Garden Festival); Vinny in The Screams Of Kitty Genovese (Tete a Tete Opera at Riverside/Edinburgh); Side By Side By Sondheim (Landor/Wavendon); News Revue (Canal Cafe); Les Misérables 25th Anniversary (O2 Arena); Sweeney Todd (Royal Festival Hall); Godspell (Barbican Hall).
Regional and Touring: Mr Snow in Carousel (Chichester Festival Theatre); Anthony in Sweeney Todd (New Wolsey); Don Jose in Carmen (New Vic, Stoke); Casanova in Casanova Returns (Cardiff); Fyedka in Fiddler on the Roof (Belgrade); Young Scrooge in A Christmas Carol (Clwyd Theatr Cymru); Abanazar in Aladdin (Radlett); Soloist in Rogers and Hammerstein Gala with BBC Concert Orchestra; Legles/cover Marius in Les Misérables;Hedda Gabler; Simon Stride in UK premiere of Jekyll and Hyde; Claudio inMuch Ado About Nothing; Tale of Two Cities.
TV/Film: Konnichiwa Brick Lane, Cacti, Tell Me, The Soldier, A Close Shave, Altra Caverna, Hand You Are Dealt. Recordings: Sweeney Todd (London West End Cast Recording); Various solo tracks at Abbey Road for Simply Broadway; UK cast of The Screams of Kitty Genovese.
MADELEINE MACMAHON is an actress and singer form the West Midlands. Theatre work includes Beatrix Potter and the Tailor of Gloucester; Cider With Rosie; Great Expectations (Cheltenham Everyman); Mercury Fur; Toy (Middle Child/Hull Truck); A Super Happy Story (About Feeling Super Sad) (Silent Uproar); Collector of Tears (Customs House Theatre/Tour), for which she was named ‘Best Actress’ at the British Theatre Guide, 2015; Aladdin; Beauty and the Beast; Jack and the Beanstalk; Cinderella; Jason and the Argonauts; Dick Whittington; Sleeping Beauty (Hereford Courtyard); The Tempest; Twelfth Night (Thick as Thieves/Hope Theatre/Tour); Sing For Your Life (Vaults Waterloo/Underbelly, Edinburgh); Kubrick3; The Dark Room (New Diorama Theatre/Pleasance, Edinburgh).
Film: The Ballade of the New River Path; Ladies (Flora Bradwell/Milk Float Productions); Adam in the Sky (Wilhelmina Hayward); Keepsake (Certified Guerrilla); The Gay in the Attic (Not Waving but Drowning Productions), winner of the Best Comedy Short at Cofilmic 2012.
Hollywood actor Jake Gyllenhaal, who is currently in rehearsal for Sunday in the Park with George at the Hudson Theatre on Broadway, has posted a video to his Facebook page showing him singing through “Finishing The Hat”. The stylish video, filmed by Cary Joji Fukunaga, shows Gyllenhaal walking down through the Hudson’s fly system as he sings, finally arriving on stage to join musical director Chris Fenwick and his band. The 36-year-old Academy-Award-nominated actor is due to make his Broadway debut in the newly re-opened Hudson on Saturday 11th Feb for a 10-week run.
He previously performed the lead role of Georges Seurat to much acclaim in a three-night New York City Center concert production in October last year. Reprising her role as Dot will be Annaleigh Ashford. If you didn’t catch them then, now’s your chance, and as this newly posted video shows, Jake can certainly sing!
Tickets are now on sale and can be purchased online at www.thehudsonbroadway.com or by calling (001) 855 801 5876.
We’re pleased to confirm that the final of the 11th annual Stephen Sondheim Society Student Performer of the Year competition – better known as SSSSPOTY – will take place on Sunday 11th June 2017 at the Noël Coward Theatre in St Martin’s Lane, London, meaning that 12 lucky finalists will get the chance to sing in front of a West End audience – and the all-important celebrity jury, chaired once again by Edward Seckerson.
The students entering the competition will be expected to sing one Sondheim song, plus one new song, selected from 12 shortlisted songs submitted by members of Mercury Musical Developments (MMD). The first prize for the best student performance is £1,000, while the writers of the best new song will also win £1,000, plus the chance to win the Stiles & Drewe Prize, which offers a mentorship package to the writers of the best new musical. The runner-up student will also win £500. Last year, the winning student was Courtney Bowman of the Guildford School of Acting, while the winning songwriter was Tim Connor. The mentorship prize went to Darren Clark and Rhys Jennings, writers of The Wicker Husband. The event was a great success, thanks to, among others, our host Julian Ovenden, our guest performer (and judge) Sophie-Louise Dann, our MD Mark Warman, and the judging panel, which included actress Anne Reid, lyricist Don Black and Society champion Julia McKenzie.
The heats this year will be held on 12th March at London’s Bishopsgate Institute, and the first submissions have already been received. For details on how to enter the competition, please email the Society Administrator, Lynne Chapman.
We – and all of the student performers – would really appreciate your support, so please keep the afternoon of Sunday 11th June free – and watch this space for more information.
Due to popular demand, The Stephen Sondheim Society Presents… cabaret evenings are returning for 2017, kicking off on 30th January with three new guest stars joining our host Tim McArthur and MD Aaron Clingham.
The other good news is that we’ve kept the ticket prices the same, and members of the Society will continue to receive a 20% discount on all tickets purchased.
Members of the Society will be emailed with the discount password, so check your inbox for our latest mail-out.
These delightfully intimate cabarets, staged in the Phoenix Artist Club lounge in London’s West End, are a celebration of all things Stephen Sondheim, presented with a mix of some new and recent songwriting for the stage plus classics from the musical-theatre songbook. They’re also a chance to showcase some of the best talent in the West End, and to provide a platform for new and upcoming performers, including winners and finalists of The Stephen Sondheim Society Student Performer of the Year competition and the Stiles+Drewe Best New Song award.
We’re delighted to reveal the line-up of guests for our first concert of 2017 on 31st January:
Francesa trained at London School of Musical Theatre. Theatre credits while training include: Rosalind in As You Like It, Young Wife in Closest to the Moon, Mrs Smith in The Bald Prima Donna and Annie in Applause.
Theatre credits include: Soloist in Tis the Season (Jerymn Street Theatre); Actor 2 in Be Back Soon (Workshop Production); Principle Vocalist in Musical Starnights – Best of Musicals (European Tour); Lead Soloist in AIDAStella and AIDAMar (AIDA Cruises); and Eileen in Wonderful Town (All Star Productions).
Josh graduated in 2012 from the Guildford School of Acting with a BA (Hons) in Acting. He recently appeared as the Media Man in The Fame Game (Vienna’s English Theatre), and as Henrik in Tim McArthur’s A Little Night Music (Ye Olde Rose & Crown). Other roles include Flute in A Midsummer Night’s Dream (Windsor), Aiden in Scour (Peacetime Productions), Brian in Elegies for Angels, Punks and Raging Queens (Pitgems Theatre), Malvolio/Orsino/Sebastian/Sir Andrew in Twelfth Night and Mr McGregor/Narrator/Musician in Peter Rabbit & Benjamin Bunny (Quantum Theatre) and Peter Pan in Peter Pan (Sherman Cymru).
Josh sang in the chorus of Church of Now 23 (Creature of London BBC Comedy) and in From Stage and Screen and Back Again (New Talent Spotlight).
Emma trained at the London School of Musical Theatre and was a finalist in the 2008 Stephen Sondheim Society Student Performer of the Year competition.
Recent credits include: Bargewoman in The Wind in the Willows (Plymouth Theatre Royal, The Lowry, Salford and Mayflower, Southampton); Wallis Simpson in Wallis ‘A Certain Person’ (Upstairs at the Gatehouse); Mrs Cratchit in A Christmas Carol (The Castle, Wellingborough); Gwendolen in The Importance of Being Earnest, Vivvi in Improbable Fiction, Pauline in The Lady In The Van, Mrs Nordstrom in A Little Night Music (Pitlochry Festival Theatre 2015 season); Singer in Thursford Christmas Spectacular; GOD (London Theatre Workshop, Stephen Sondheim Society); Mrs Giant in Jack and the Giant (Chipping Norton Theatre); Cathy in The Last Five Years (Battersea Barge); Belle Poitrine in Little Me (All Star Productions); Lead vocalist/actor on board the Queen Elizabeth (Cunard); Thersites/Penelope in Troilus and Cressida (Dogs with Crowns); Penelope Toop in See How They Run and Rose Trelawny in Trelawny of the Wells (Pitlochry Festival Theatre 2011 season); Soloist in Prom 19: Sondheim at 80 (Royal Albert Hall); Hebe in HMS Pinafore and Peep Bo/Katisha in The Mikado (UK tour, Opera Della Luna); Lady Macbeth (Macbeth, S4K UK Tour); The Fingask Follies, and Cinderella/Flute in Into the Woods (Upstairs at the Gatehouse). Emma is also featured on various recordings, including Charles Miller’s Brenda Bly: Teen Detective, and vocal warm-ups for Sing-Up Britain.
Workshop credits include: Bank of Dave.
Emma has performed in various cabaret and reviews, with Fenton Gray and Charles Miller in Shakin’ the Blues Away (Battersea Barge) and It’s Only a Way I’ve Got (St James theatre and Hoxton Hall) and with her own shows Life is Just a Bowl of Cherries, Help Is on The Way and Starry Eyed. Emma is a BBC Fame Academy Bursary and Performers’ Fund winner.
Twitter: @BiscuitOdell; for news, reviews, and further information, please visit www.keddiescott.com
Solo cabaret shows include: Don’t Tell Mama, The Purcell Room (New York); Union Theatre; Jermyn Street Theatre, Theatre Lounge (Kuala Lumpur) and most recently Mountains at St James Studio. Since March 2016 Tim hosts the monthly Stephen Sondheim Society Presents… cabaret nights.
As Sister Mary McArthur, appearances include: West End Eurovision, Edinburgh Festival Gilded Balloon (2007); The Graham Norton Show (BBC1); Elton John’s Christmas Party, New Space Theatre 2 (Cape Town), Sister Mary’s Sunday Show (Sept 2015 – Nov 2016, Cockpit)
Directing Credits include: Recently the critically acclaimed Wonderful Town, Into The Woods and A Little Night Music (Ye Old Rose and Crown); Newsrevue (Canal Café Theatre and Edinburgh Pleasance); TheSunny Side of The Street (Jermyn Street Theatre); Maurice, My Beautiful Launderette, When Harry Met Barry and Dangerous (Above The Stag Theatre); Follies, She Loves Me (Off West End Nomination, Best Director, 2012), Days Of Hope (Ye Old Rose and Crown); The New Four Poofs and a Piano (UK Tour), Helen Lederer – Be in the Now and two seasons of the hit of musical Bathhouse. This March 2017 Tim is working on the European premiere of Sondheim’s The Frogs at the Jermyn Street Theatre.
Television Credits include : Eastenders (BBC);Ginger Beer (Channel 4);The Richard Blackwood Show (Channel 4)
Radio Credits: A Chorus Line, Sweet Charity, Fiddler on the Roof (BBC Radio 2)
Presenting Credits include: BBC London, Sunday Brunch on Jemm, Tim McArthur interviews on Theatre Radio, Gaydar Radio, the Scene and Five Live. Tim currently hosts The Curtain Up Show (Resonance 104.4FM), In The Green Room on Encore Radio; for the past two years, he has hosted the Red Carpet at West End Eurovision and A West End Christmas for the Mad Trust; and for the past three years, The West End Wilma Awards.
Recording Credits: Fred Astaire His Daughters Tribute, Bathhouse OCR, Tim’s debut album – Don’t be Anything Less.
Aaron is an Off West End Award-nominated Musical Director whose recent professional credits include 40th Anniversary production of Godspell, First London revival of Howard Goodall’s Girlfriends, and Cleveland Street by BAFTA Award winner Glenn Chandler.
Aaron is owner of Ye Olde Rose and Crown Theatre Pub in Walthamstow, and founder of Allstar Productions, where he has MD’d for, among others, A Little Night Music, Into The Woods, Piaf, The Musical of Musicals the Musical!, Girlfriends and Godspell. He is also regularly seen taking on the MD role at Above The Stag.
Fans of West Side Story – and of musical theatre in general – were treated to an hour-long documentary this Christmas produced and directed by Ursula Macfarlane and fronted by choreographer Bruno Tonioli and broadcaster Suzy Klein. Richly illustrated with archive footage, new interviews and musical excerpts played by the BBC Symphony Orchestra – conducted by Gareth Valentine – and sung by, among others, Rob Houchen, Stewart Clarke, Zoe Doano and Gemma Sutton, West Side Stories: The Making of a Classic is a respectful and fascinating contribution to the history of musical theatre.
Sondheim, of course, features heavily, being the last remaining of the four core creatives, alongside Leonard Bernstein (composer), Jerome Robbins (choreographer) and Arthur Laurents (writer).
From his home in Turtle Bay, New York, Sondheim speaks with Klein about his experience on the show. “Musically, I learned a lot from Lenny, seeing how he approached writing,” said Steve. “Osmosis, you know? He never lectured me – none of that.”
However, he goes on to explain how difficult it was working with Bernstein at the beginning of the process. “He was very fond of changing my lyrics. ‘Wouldn’t this be better?’ I was 25 years old and he treated me like a kid! He treated me nicely and very well, but always that condescension was there. It took a long time for him to accept that I was my own man.”
Bernstein’s daughter Jamie Bernstein illustrates the value of Steve’s contribution with a delightful example from the song “Maria”. She explains: “There are some sketches that exist of preliminary lyrics that my father wrote:
Maria, it’s a sound like there’s music playing
It’s a sound like in church when they’re praying
“I thought, ‘That’s so inelegant. That is really so inferior to:
Maria, say it loud and there’s music playing
Say it soft and it’s almost like praying
“Now that’s a lyric! But that was Steve!”
Jamie goes on to say that her father found composing a lonely profession, which is why he liked the collaborative nature of musical theatre and working with his “buddies”, even if later in the show excerpts from his letters to his wife reveal how tormented Bernstein was by the process.
“I think he was very happy to have a collaborator that was a musician,” suggested Steve, tempering this in his typical self-effacing way with: “I may be flattering myself…”
Sondheim is thanked for bringing Larry Kert into the production as Tony, after seeing him singing in a TV commercial. “Dozens of bright young hopefuls” were auditioned, explains host Tonioli, but it was Sondheim who saw something in the 25-year-old Kert, who had already been turned down for three different roles in the show.
Kert explains: “It’s 8 o’clock in the morning, and I’m singing [in a high-pitched camp tenor], ‘This shirt is forty-three percent cotton, twenty-two percent wool…’ one of those silly things you do. Stephen Sondheim happened to be there that morning. He came backstage and said, ‘Boy, I’ve seen your auditions. How come you don’t sing high for us? You’ve always sung this low stuff’. I said, “Listen: every day I read in the paper that you’re looking for a six-foot, blond, Polish tenor for Tony. I’m a five-foot eleven Jewish baritone!’ Sondheim said, ‘I’m setting you up for an audition as Tony!” Kert, of course, got the job.
Sondheim is also credited with bringing Hal Prince into the production after producer Cheryl Crawford, fearing that the show would never be a hit, pulled out just weeks before rehearsals were due to start. (In an amusing aside, “The Boys”, as they were known, attempted to console themselves at the Algonquin Hotel but were barred entry because Arthur Laurents wasn’t wearing a tie! “Arthur and I went to drown our sorrows and figure out what to do,” says Steve. “Talk about adding insult to injury! Gee whiz! Our entire lives had just fallen apart and I’m terribly sorry, you can’t have a drink because you don’t have a tie!?”)
Prince, a friend of Sondheim’s, flew to New York to meet the team. “Steve had played the whole score in my apartment and in his apartment, so I knew it very well and I love it. But he said, ‘Please don’t tell anyone that you’ve heard the material because Lenny is very finicky about it and doesn’t want anyone to have heard any of it.’ I said okay.” Prince goes on to say how he and Steve visited Bernstein’s apartment, where the composer played the score, nervously and loudly – “Lenny can play loud!”, Prince notes. “During the playing of the score, I suddenly started to hum one of the songs inadvertently. I didn’t ever realise I was doing it. I thought, ‘Oh my god, what have I done?’ Lenny stopped and said, ‘That’s what I’ve always wanted, a musical producer! By the time I left his apartment, we’d agreed to do it!”
West Side Stories goes on to detail the show’s opening and movie adaptation, interviewing many of the those involved at the time. There’s plenty of fascinating archive footage shown alongside the newly filmed interviews, so there’s much here to interest musical theatre and movie historians. Don’t miss it.
West Side Stories: The Making of a Classic is available on BBC iPlayer here.
BBC Symphony Orchestra, conducted by Gareth Valentine
Singers: Christine Allado, Ava Brennan, Nathanael Campbell, Christopher Chung, Stewart Clarke, Zoe Doano, Rob Houchen, Debbie Kurup, Oliver Ormson, Gemma Sutton, Jon Tarcy and Kayi Ushe.
Elliot Harper Productions – the new theatre company formed by Tony- and Olivier-Award-winning theatre director Marianne Elliott and theatre producer Chris Harper – has announced that they will be bringing Stephen Sondheim and George Furth’s Company to London’s West End, as part of a new season of shows starting next August.
Elliot, who won acclaim for her productions of War Horse and Curious Incident of the Dog in the Nighttime, will direct, and – intriguingly – the role of Bobby will become Bobbie and be played by Rosalie Craig. “If it’s a 35-year-old woman, and set now, then 35-year-old women are starting to think about settling down,” said Elliot in an interview with Baz Bamigboye. “They are thinking about the body clock and they think: Should they be with someone permanent?”
Craig reacted by tweeting “I couldn’t be more thrilled and excited!!!”
Sondheim approved the gender switch after Elliot and her team – including a pregnant Craig – filmed a workshop and sent him a copy of the video. “He loved Rosalie and felt it really worked with a woman,” Elliot said. “He watched it with friends and they loved it, too.”
Concert pianist Anthony de Mare, the mastermind behind the Liaisons project – “Re-imagining Sondheim from the Piano” – gave an outstanding performance at the Milton Court Concert Hall, part of the Guildhall School of Music at the Barbican, this Sunday evening.
This landmark commissioning and concert project invited 36 composers to rework a Sondheim song of their choice for solo piano, and the result is a fascinating – and gorgeous – collection of works that take classic Sondheim themes and motifs and knead them into something new.
The concert, which saw around 30 Society members in attendance, featured a selection of 13 of the new commissions, from composers as diverse as Winton Marsalis, Steve Reich, Duncan Sheik and Mark Anthony Turnage… a roster of composers who, between them, have won 34 Pulitzers, Grammys, Tonys and Academy Awards.
I, for one, found it utterly compelling, hearing these familiar, much-loved melodies stretched, folded and moulded into new works of art. In some instances, the melodies are instantly recognisable, while in others, it takes a while for the brain to kick in and detect the tune.
The challenge facing de Mare’s composers, I suspect, was finding the meaning and content of a song – with its rich Sondheimian lyrics, no less – and expressing it with just the notes of the piano. They do this, in my opinion, incredibly well, particularly Paul Moravec’s compulsively obsessive “I Think About You” (adapted from “Losing My Mind”) and Ricardo Lorenz’s comedic Latin American re-grooving of “The Worst Pies in London” as “The Worst [Empanadas] In London”.
Anyway, if you missed the concert, the Liaisons tour next heads to the Royal Northern College of Music in Manchester for a one-off on Tuesday, November 15th. De Mare is an exceptional pianist, and there’s so much to discover here that it takes a good few listens to discover the rich depth of the material. I urge you to go. Otherwise, you can find out more about the three-disc recording – and listen to extracts – here.
Don’t miss the last Stephen Sondheim Society Presents… cabaret of the year! It’s scheduled for Monday 14th November at our usual spot in the Phoenix Artist Club, just downstairs from the Phoenix Theatre in London’s West End. Our inimitable host Tim McArthur and MD Aaron Clingham will be joined by three more leading lights of musical theatre, singing a selection of Sondheim songs, classics from the musical-theatre songbook and some pieces of new and recent songwriting for the stage.
Taking to the mic this time will be:
JAMIE BIRKETT: Jamie Trained at Mountview Academy of Theatre Arts. Recent Theatre Credits include: Lady Macbeth in Macbeth (International Tour), Doctor Finache in A Flea In Her Ear (Tabard Theatre), Miranda in The Ghost Train Don’t Stop Here Anymore with acclaimed horror novelist Kim Newman and horror Director Sean Hogan (Tristan Bates), Charlotte Malcolm in A Little Night Music (Offie Nomination Best Supporting Actress), Queen Mouseyrinks in the world premiere of Nutcracker! The musical (Pleasance Theatre London), Jubilee Climax in the West End production and subsequent 20th Anniversary Production of Saucy Jack and the Space Vixens (Leicester Square Theatre), Martha in Cross Purpose (Best Actress nomination in the Off West End awards), Joanne in the London revival of RENT (Greenwich theatre), Serena Katz in Fame (European Tour, Monte Carlo), Principle Female on Musical Starnights (European Tour) Lead Female in Sondheim Women (St James), Wicked Witch in Little Red Riding Hood and Evil Stepmother in Cinderella (Customs House), Princess Jasmine in Aladdin (Sands Centre Carlisle), May-queen in Merrie England (Finborough), Ragtime, The Hired Man (Landor), Aladdin in Aladdin (The Maltings Theatre), The Boyfriend (Her Majesty’s) and Once Upon a Time at the Adelphi.TV and Film Credits Include: Charlotte in New Sitcom The Interval, Taylor in Flow (Independant), Cinderella in Twisted Tales (BFI), Sondheim’s 80th Birthday Prom, (Royal Albert Hall), A Royal Night Out (Lionsgate), Wire in the Blood (ITV), Rocketman (ITV) and the Final 18 in I’d Do Anything (BBC). Follow Jamie on Twitter @jkmbirkett
Please join us at the Phoenix Artist Club at 7.30pm on Monday 14th November – tickets are just £15 (or £12 for Society members), so it’s great value and you’ll be helping to support our charitable efforts. Hope to see you there!
Wimbledon Light Opera are presenting Company at the Lost Theatre London from the 9th to the 12th of November. From their site: “We’re delighted that our autumn show will be the sublime musical comedy, Company, with music and lyrics by Stephen Sondheim and book by George Furth. Company centres around Bobby and the celebration of his 35th birthday. Set in New York, we’re introduced to various couples in Bobby’s life through a series of vignettes exploring marriage.”
BOBBY – Michael Stacey
AMY – Charlotte Donald
PAUL – Will Moss
JENNY – Kate Vlietstra
DAVID – Neil Wease
JOANNE – Tal Hewitt
LARRY – Ron Packowitz
SARAH – Mary Clare
HARRY – Stephen Hewitt
SUSAN – Ellie Cahill
PETER – Adam Walker
APRIL – Abbie Minnock
KATHY – Rosie Miles
MARTA – Hannah McKenna-Vickerstaff
Director: Zoe Dobell
Musical Director: Ben Nicholls
Producer: Avril Stanford
The LOST theatre
Wandsworth Road, SW8 2JU
Tube: Vauxhall, Stockwell
Bus: 77, 87, 196, P5