BWW EXCLUSIVE: Lonny Price On Sondheim & COMPANY

Bridging the gap between theatre, television and film in a thrilling and revolutionary new way with this week's premiere of Stephen Sondheim'S COMPANY, in select movie theaters nationwide Wednesday through Saturday (with a return engagement already scheduled for early July), director Lonny Price has introduced Sondheim's seminal concept musical comedy to a whole new generation of gleeks, as well as reverently keep the flame of the fire in the heart, soul and mind of this complex, rich and rewarding show for Broadway babies who already know its genius. Additionally, Neil Patrick Harris, Christina Hendricks, Stephen Colbert, Jon Cryer, Katie Finneran, Aaron Lazar, Martha Plimpton, Patti LuPone and the rest of the cast are absolutely perfect for their roles and bring a live spontaneity and verve to their material - the kind which you usually only see in the very best shows on Broadway - and that sense of timing, precise editing and overall polished presentation style is a sure credit to Price's positively sublime direction of the live stage production with the NY Philharmonic, as well as - and maybe even more so - the movie version of the live show in theaters now. It bursts with energy and, well, aliveness, just like A real BROADWAY show. Make that: Just like A real BROADWAY smash hit.

Talking all aspects of COMPANY on film while still in the thick of editing it last month, Price was kind enough to open up about what the rehearsal process was like, filming it live and working with the all-star cast, as well as much, much more - all coming on the heels of last year‘s rapturously received Ellen Krass production of SONDHEIM! THE BIRTHDAY CONCERT, undoubtedly the finest Broadway concert capture of our age, as well as the live broadcast of Sondheim's PASSION for PBS LIVE FROM LINCOLN CENTER. Price discusses his affection for the material and the man behind the music, as well as his smashing leading ladies. Plus: what's next?

Be sure to stay tuned for the complete InDepth InterView featuring Price's recollections of Sondheim's MERRILY WE ROLL ALONG (and his forthcoming documentary about it), A CLASS ACT, directing DESPERATE HOUSEWIVES, and news about the feature film version of Athol Fugard's MASTER HAROLD AND THE BOYS coming later this year - a play which he starred in on Broadway twenty-five years ago. Actor, producer, director, and, now, filmmaker - Price can certainly do it all!

Lonny, Come On Over For Dinner

PC: The SONDHEIM! Birthday concert is one of the finest live performance captures I have ever seen - thank you for that.

LP: I was so thrilled that I got to do it. It means so much to me to be able to present something like that to the world as the director - and, as someone who loves theatre so much. It was so rewarding to give back to someone who has given so much to me as an actor and as a director like he has. It was important to me to do it justice and I am glad it turned out so wonderfully.

PC: What was it like getting the cast together? A Herculean feat if there ever were any - just for the seven ladies in red alone!

LP: Well, you know, when I do any of these things - everybody just jumped at the chance to do it.

PC: Why do you think that is?

LP: Well, first of all, it's the greatest material ever written.

PC: Indeed.

LP: And, of course, since it was his birthday, I think everybody kind of wanted to be at the party to celebrate him. It was hard, logistically, sometimes, to get certain people in certain places at the right time - but, nothing overly difficult.

PC: You have it down to a science coming after SWEENEY TODD and CANDIDE and CAMELOT and so many live show tapings, it seems.

LP: I've got this amazing team - Matt and Josh and my whole team. I've got such a great team - I do not do it alone. It is a group effort. Also, Paul Gemingani and the orchestra. Plus, you get to work on the best material ever written with the most amazing performers alive - and, you get to be in the room with them - so, how bad is all that? (Laughs.)

PC: Were the reactions of the ladies in red rehearsed?

LP: A little, yes. Obviously, like with George and Michael and Patti, we went over how they would all play off each other. They were so great, just to see those ladies all watching each other with so much respect. It was such a magical night and I am so glad it was on DVD.

PC: Did any songs not make the cut for the concert?

LP: A lot. But, it had to meet the time limit and I actually think limitations and boundaries are helpful. I mean, I could have had it go on for four hours, but I think we came up with a good balance of Steve's contributions.

PC: Was Patti doing GYPSY considered?

LP: Of course. But, it became a question of balance and not too many songs with just lyrics. I am certainly not unhappy with how it turned out, so it worked out fine. I wish it could have been four and a half hours, though.

PC: You and me both! Ellen Krass broke the news in this column that COMPANY would come after the SONDHEIM! Concert. What is your relationship with her like?

LP: Everything I've ever done - all of these tapings and this film - has been with Ellen. I am so grateful to her. She makes them all happen - and, she is incredibly effective. They are not all huge money-makers for people, but she makes them happen. They would simply not exist if it was not for her - you would not hold a DVD in your hands of any of these shows without Elllen Krass.

PC: Or, in the case of COMPANY now - a movie ticket! And, someday, a Blu-Ray.

LP: Right! Right.

PC: The Sondheim! Concert was such a success, so COMPANY seems the ideal first full Sondheim show film to make.

LP: Yeah, the SONDHEIM! DVD sold something like twenty-two thousand units in the first month or two. That's pretty great.

PC: And on PBS.

LP: For the birthday concert, over 850,000 people watched it the first time on PBS, and more than a million watched it, including the rebroadcast - so, that's a huge amount of people exposed to Steve's work. There's a lot of people out there who love him and love what he's done.

PC: And you also recently presented PASSION, broadcast live.

LP: Yeah, that was particularly nerve-wracking. (Pause.) That's not my favorite thing - shooting it live is hard enough! But, broadcasting it live is so much work. A lot of editing usually goes on. I love to be in the editing room. You can really make it beautiful, I think, when you have time to edit - so, I don't particularly enjoy the live broadcast thing. I don't think I will be doing too much more of that! (Laughs.)

PC: It's too limiting?

LP: Yeah, every mistake you make is there forever. There are certainly things in live broadcasts that I've done that I wish I could have gone back to edit and make better. It's hard, because you want it to be perfect, and it just isn't. Even in the edited ones, it's not everything you want it to be - but, it's closer.

PC: That PASSION reinvented the piece in many ways. It was much more visceral and alive than the Broadway production.

LP: Thank you, I really appreciate that. The three of us - Patti, Audra and I - worked on it a lot and the more we worked on it the more I grew to appreciate all the things in it. That was a learning experience on that one. I really learned a lot from it.

PC: What is your relationship with Patti LuPone like?

LP: Well, Patti and I have known each other for a really long time. We actually acted together - I think it was in the early eighties - in this series of original musicals for PBS. They only ended up doing one, but they had formed this little rep company and Patti and I were in it and each of us was supposed to get a lead role in one. Patti was in it and Priscilla Lopez and Ellen Foley were in it, too. We just got along famously. I just have such great respect for her. I think she is one of the most brilliant performers ever - and, certainly, one of the most accomplished actors or actresses of our time.

PC: When did you first direct her?

LP: The first thing we did together was PAL JOEY for Encores!

PC: What was that like?

LP: It was a very strong, respectful working relationship. She can do anything. She is an extraordinary actress. And, we love working together - it is a very successful collaboration. (Pause.) I am, frankly, in awe of her. She is extraordinary and I feel that we do so well together, too. I am so very happy we have done so many things together.

PC: You have done pretty much every Sondheim show with her at Ravinia at this point, yes?

LP: We've done almost all of them - we haven't done INTO THE WOODS or ASSASSINS or PACIFIC OVERTURES. But, yeah, she is the greatest.

PC: What about ANYONE CAN WHISTLE? The Encores! Revival has drummed up more excitement for the show following yours with Patti, Audra and Michael Cerveris.

LP: I love that piece - but, I understand that it is challenging. Actually, I think a lot of the book is actually very strong. Audra was sort of a revelation in that role - I just thought she was extraordinary. I adore working with her. Like Patti, she is one of the most thrilling performers alive. There is nothing she can't do. ANYONE CAN WHISTLE, SUNDAY IN THE PARK - she is a flawless performer. Audra doing "There Won't Be Trumpets" was an amazing moment, and, the title song - she made it very simple. It wasn't about the notes or the singing, it was about watching her. She was beautiful in the show. Just beautiful.

PC: Her performance of "The Glamorous Life" on the SONDHEIM! Concert is my favorite moment, actually. Sondheim told me some fascinating details about that song when he did this column. What's your take on it?

LP: Well, I've known it since the film came out - I remember buying the soundtrack for the movie [of A LITTLE NIGHT MUSIC]. I've known the song for thirty-something years and I think it's my favorite Jonathan Tunick orchestration. I just think it's the most glorious orchestration he's ever written, so I am just a huge fan of that song. I remember Audra did it at her Carnegie Hall concert. She was hair-raising. (Pause.) It's an amazing piece of writing and she's thrilling doing it. I've never talked to Steve about it, but it's, truly, one of my favorite songs he's ever written.

PC: What's your favorite Sondheim piece?

LP: I don't know if I have a favorite. Obviously, MERRILY is very close to my heart just for  personal reasons. I adore COMPANY - I think that's probably the best collection of theatre songs ever. I love NIGHT MUSIC. I love FOLLIES. And, SWEENEY is just... I love them all, really.

PC: What about doing ASSASSINS for a live film next?

LP: (Laughs.) I don't know about that!

PC: Neil Patrick Harris recently told me all about his preparation and the rehearsal for the COMPANY film - as well as he got involved - so, could you sort of do the same?

LP: Oh, gosh! Hmm, I don't even know where to begin...

PC: Whose idea was it?

LP: It was my idea. Paul Gemignani and I had wanted to do COMPANY for a long time. We were actually going to do it at the Philharmonic before John Doyle's production came in.

PC: More than five years ago now.

LP: Right. But, when that was on its way in there was, obviously, no point in having competing COMPANYs. I think we did CAMELOT that year instead. So, it's always been on my mind since then - and Paul's.

PC: Why now?

LP: Well, after the birthday concert, I went to the Philharmonic and said, "Do you want to do COMPANY?" and, they said, "Sure!" Then, it was important that we get Neil. Especially since John Doyle's production had been done so recently, I wanted it to be an all-star production and for it to be much more musical comedy than that was. I wanted people to appreciate the humor, and laugh - and, then, think, "Oh my God, what am I laughing at? Is that me?" I think we all struggle with our fear of losing ourselves in our relationships with each other. I think each of these couples are struggling with trying to connect and, at the same point, it's also about the price you pay for being in a relationship. It's about if you're willing to pay that price or not - and, about being OK with being alone. I think there is a price to being alone and there is a price to being in a relationship. It all depends on which price you want to pay - but, none of them are free.

PC: Totally. That's the essence.

LP: It's like that line from INTO THE WOODS, "Wishes come true, not free."

PC: Definitely.

LP: That's relationships - there are prices to pay to be in one. And, there is a price to pay to be alone. That struggle interests me a lot.

PC: What a fascinating way to look at it.

LP: In addition, I think it looks at relationships in a very sober - and, yet, very comedic - way. It's just filled with irony - it's the most ironic piece in the world. The humor was very important to me and that's why the casting was what it was - to serve the humor of the piece and the darker qualities of it at the same time.

PC: What a cast you got, to boot! Patti, Neil, Stephen Colbert...

LP: They loved doing it and were so willing and so game. They wanted to do it. I mean, Stephen Colbert worked his butt off! He was so prepared and eager and just a total joy to be in the room with. Jon Cryer, too. And Christina? Amazing.

PC: So sexy and hilarious. Are you a MAD MEN fan?

LP: Aww, yes! I love MAD MEN. I just adore her. I was so, so excited when she said yes - I wanted her so badly. And, she just could not have been funnier or sweeter or nicer or smarter. She, of course, had never done anything like this - I think she had done an amateur production of GREASE a long, long time ago or something. So, she really wanted to try this form and she had a wonderful time. The wonderful thing is that it is a terrific debut. I know that she would like to do more theatre - and, now, I know she will. She is a great, hard worker and just a great woman. We all instantly fell in love with her.

PC: Neil's chemistry with Christina and Patti is just perfection. Palpable. Patti makes Joanne all her own.

LP: Well, with Patti it was a no-brainer. I'd be a fool not to ask Patti LuPone to play Joanne. She came through brilliantly - as always.

PC: Whose idea was the martini glass vodka stinger splash?

LP: (Laughs.) That was mine. I keep saying collaboration, but it really was.

PC: How did the idea come about?

LP: I think I spilled some water and just said, "Throw it in their faces!" And, she said, "You're kidding!" And, I said, "No! Really! Just toss it out. That's where this woman is at." Then, she was worried about what the audience would think, and, I said, "It's holy water from Patti LuPone. They'll be fine." I'm sure they were glad to have some Patti martini thrown on them. (Laughs.) It was a great moment. I was glad to encourage her to do something like that.

PC: Indeed! What was your first experience of the show yourself - the original production?

LP: Yes, it was my eleventh birthday when I saw it the first time. It was a long time ago. The music was the first record I bought with my own allowance money. It's like DNA to me, that score. I just adore it. It's on my iPod. It's never too far away from me, that original cast album. It actually reminds me of the MERRILY cast album in some ways.

PC: Do you anticipate more movie versions, as opposed to teleVision Productions, in the future with COMPANY working so well?

LP: I sure hope there will be more theatre on television and in the movie theaters. I do have to say, the idea of theatre in movie theaters is really exciting to me. On film, you are seeing two eyes and the full face, whereas on stage you just see a profile. So, I don't think it is that hard to translate stage to screen in the case of my productions. Also, I think they are both equally satisfying in their own ways.

PC: You bring the two worlds together brilliantly. But, you also bring the live energy to the experience - especially with COMPANY.

LP: That was my goal and why we wanted to do it live. Honestly, I really think it's exciting to be doing this right now. Really exciting.

PC: It really is. What do you think of HD?

LP: HD is fine. I mean, obviously, the quality is better - but, the problem with HD is that it just unforgiving! Particularly, the way people look. To be honest, I think it's better for sports and things and I think it works fine without HD. I know people really like HD, though, and I understand that.

PC: You can say that again!

LP: I do have to say, I really love the Blu-ray sound. The picture is beautiful, too, but it is so hard on the theatrical stuff, particularly the lighting. The lighting has to be compromised to a certain extent.

PC: And COMPANY was all shot in HD, as was SONDHEIM!

LP: Yes and we shot MASTER HAROLD on the RED camera and it had to be lit for an hour and it looks just like a film. But, with a live performance you don't have that luxury because of the time constraints. HD live filming can very, very tricky.

PC: SONDHEIM! On Blu-Ray was 1080i not 1080p, so that's a concession.

LP: Well, I actually didn't make that decision because PBS had a standard because of how it has to be presented on TV. But, COMPANY was filmed in Full HD.

PC: What about 3D? INTO THE WOODS in 3D would be awesome.

LP: I don't know! Obviously, it seems like theatre and 3D together would be the right idea because both draw you in. I haven't given it much thought, though. Certainly, the thing with the concerts is that they are fully staged and fully choreographed, just without walls - so, it would work. We have sets and costumes and choreography. I think they work as full productions, but I would be thrilled to do a full musical movie maybe, too. So, you never know.

PC: What have been your favorite recent movie musicals?

LP: I liked HAIRSPRAY a lot. I also really like DREAMGIRLS. CHICAGO was, of course, wonderful. Obviously, they are all popular, so that's just great.

PC: Define collaboration.

LP: That's a really interesting question. There's no question about it: the best theatre is collaboration. The best anything is collaboration. As I told you, this team of me and Matt and Josh and the stage manager - we all do it together. It takes a village - not a village: a city!

PC: "A city of strangers," in the case of COMPANY?

LP: (Laughs.) The amount of people behind COMPANY - you have no idea. I mean, we had a whole second cast for rehearsals with all the Pace University kids! The credits for the film will go on for thirty days - there are so many people. Just like with the SONDHEIM! Concert, I am surrounded by so much support. I get so much input and so much collaboration from all of them. I can't take credit for any of it really, we all do it together - it's a real "we". I feel like I am the leader, but it's really a bunch of us doing this.

PC: COMPANY is really a new form of media - a meta-movie-musical. It's live film of a theatrical experience. You are a true pioneer.

LP: Thank you so, so, so much for saying that, Pat. I really appreciate it. I am so glad that we are able to bring COMPANY: THE MOVIE to so many people around the country like this. I feel really lucky and I hope people really respond to it and we can do many, many more. I can't wait!

PC: It's the most significant movement in bringing serious musical theatre to an international audience in my lifetime - more than even GLEE or PBS, in many ways. Revolutionary.

LP: That means a lot to hear. I know when I was growing up, it would have meant a lot to me to have these DVDs to play and replay - or, to go to the movies and see something like this. It's a lot like it was for me listening to cast albums when I was a kid, but even better because you get to see the performers' faces and what they are doing and the costumes and the choreography and everything else. It's not like I do it for me, but I think I do it for the kid in me who would have loved this. I try and think about kids getting to see performances they never would have gotten to see otherwise. To get to see Patti and Neil at the top of their game - that's education; that's important; that's everything, to me.

PC: That's Broadway - at its best; as COMPANY so very much is. This was so amazing. Thank you so, so much, Lonny.

LP: This was fabulous, Pat. Thank you. Bye for now.