So they are really early thoughts and ideas. (These emails were just before we went into the first workshop in London. Sondheim Courtesy of COMPANY on Broadway AUGUST 24, 2016 Looking back I just can’t help feeling how lucky and honoured I was to get this shot of working “side by side” with him. Memories to treasure forever. And Steve had the foresight to see that JAMIE singing “Not Getting Married” could “stop the show.” He had that gut instinct and he was proved right. I hope it shows how open and alive we both were to the process. This was something that I did not consider until very late in the process.
ON A CLEAR DAY SHEET MUSIC SERIES
I have also included a series of emails which show the progression of the idea of turning AMY into JAMIE. These emails are just a few over the course of the past few years from the very beginning in 2016 when we first approached Steve if we could try a workshop of the show with a female “Bobby,” to casting for the London production. And with Stephen Sondheim - the greatest of all time. That is one of the things I can also feel coming off the page - the excitement, the buzz of creating something new. Asking my permission if it were OK if he “fiddled with them!” I guess he knew I was so excited by the process. I mean there is one email where I am actually sending Steve some lyric ideas!! But he took it all in good humour. I am shocked in some cases as to how bold I was with my suggestions. He was always so respectful of the process as long as we could maintain the spirit of the show - and, crucially, the original dialogue by George Furth. He was honest about how he might have felt cut off from the modern take in some ways but never closed down the suggestions. How open and generous he was and how he really embraced the idea of making this piece new - for an an audience today.
I hope this correspondence gives an insight into what a truly great collaborator he was. We have been through so much since we first started talking about the idea in 2016. Marianne Elliott, 2022: Looking back now over these emails between Stephen and I is, of course, very emotional. Stephen Sondheim, Marianne Elliott at Sondheim’s home in Roxbury, Connecticut, the weekend before his death at 91 on NovemCourtesy of COMPANY on Broadway
In this Deadline exclusive, some key early moments in the production’s development are chronicled in never-before-released email exchanges between Elliott and Sondheim, and demonstrate moments of inspiration, reluctance, collaboration, adventure and ultimately joy as the Company of 1970 became the Company of today. Today, Elliott’s Broadway revival of Company stands nominated for nine 2022 Tony Awards including Best Revival of a Musical Best Performance by an Actor in a Featured Role/Musical (Matt Doyle, who plays Jamie) Best Performance by an Actress in a Featured Role/ Musical for both Patti LuPone, who plays Joanne, and Jennifer Simard, as Sarah Best Scenic Design/Musical, Best Lighting Design/Musical, Best Orchestrations, Best Sound Design/Musical and for Elliott, Best Direction/Musical. Those and other changes in characters would reflect nearly 50 years of sea-change attitude shifts in gender conventions, sexuality and power dynamics and lead to a revised Company that would transfix audiences on London’s West End in 2018 and, three years later, Broadway. Just let us know.'Dana H.' Star Deirdre O'Connell Haunted Broadway In A Voice That Came From The Real World - Deadline Tony Watch Q&A If you wish, we will also remove from our Songs For Sale catalog this song and any other songs for which you hold the copyright. We will be happy to pay you industry-standard print royalties, retroactively to our first resale if any of this sheet music. If so, please contact us and let us know. We make a good-faith effort to identify copyright holders and pay appropriate print royalties for sheet music sales, but it’s possible that for this song we have not identified and paid you fair royalties.
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