I have an audition for a local production of Company next week. I have a copy of the score which is labeled "1996". Each recording I have heard regarding "Someone Is Waiting" and "Being Alive" is higher on the recording (by 1 and 1/2 steps)than the score I have.
What my question is, is for anyone with the original score or the current published score, is, what key is "Someone Is Waiting" in? And, what key does "Being Alive" end in? In the score I have the first is completely in E Major and the latter ends in the key of D-Flat Major.
Any information would help, I just want to be prepared for this callback as much as possible.
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.
I know very little about keys, but wasn't Bobby at the Roundabout actually a baritone, and he's usually a tenor? At any rate, while I rarely play that recording, I appreciate that I can (somewhat) sing along with him...
Without you I'd only have to resort to Google, and we know who pops up when I do that.
I believe '96 was when the revised score and libretto were published. But yeah, it was done for its 25th aniversary (and how strange that that was probably during my most intense Sondheim love, and doesn't feel nearly twenty years ago...)
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.
Before this turns into a mutual appreciation thread--thanjks, though I think you're too modest about the amount of knowledge you have--and insight.
What's really odd is in whatever way I have Broadway shows sorted in my mind, I still always think of the Sondheim/Prince shows as "new". I don't know if that says something about the state of theatre, or just my tastes (or maybe more just the state of my mind). It's kinda scary to realize Company is 40+ years old, even if it is obviously a work of the very early 70s.
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!
Eric-- Is there a revised vocal score of COMPANY using SS's original piano manuscripts, etc.? I know a vocal selections folio has been put out featuring all of the songs from the show, plus "Marry Me A Little" and the ones cut in rehearsals and Boston.
Recently, NIGHT MUSIC has been published using the composer's original piano copy. I don't recall the same being done for COMPANY (or any of the post-SWEENEY scores, save for NIGHT MUSIC).
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.
It's on Amazon.com-- it was only put out a year or so ago.
PS: Also regarding Sondheim sheet music-- the vocal selections for ROAD SHOW are finally out for those of you who've ever wanted to use "Talent" or one of the other solo pieces for auditions.
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.
So is Dean Jones a baritone? *Very confused*. But since I do know (or have been told) I'm a bass-baritone, the revival key makes sense.
You're right, they did further change some elements for the Mendes revival, at least from the televised broadcast (I don't own the album). Anyway, really appreciate the information!
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.
I know from my days doing musicals, that roles for low voices get increasingly rare the more recent the show is (of course my issue also was that I often would get cast in dance-heavy roles which never really seemed to be written for low voices...)
As I mentioned, I really tend to be bad at knowing what range a voice has (despite doing years of violin, music theory, and some of my own voice lessons). I guess Jones has a high "sound" to me, which is why I would have assumed he was a tenor, but I've learned before that that doesn't always mean anything. I appreciate all your info!
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.
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joined:2/27/08
Posted: 8/13/12 at 04:05pm