ORIGINAL CAST ALBUM: “COMPANY” [1970 / 2021] [The Criterion Collection] [Blu-ray] [USA Release] A Backstage Drama of Connection and Tortured Creation! Observing the marathon recording session to create the Original Cast Album for the Stephen Sondheim musical “COMPANY.”
D.A. Pennebaker offers a rare glimpse behind the Broadway curtain, capturing the magic and demands of performance. This holy grail for both documentary and theatre aficionados offers a tantalizingly rare glimpse behind the Broadway curtain.
This holy grail for both documentary and theatre aficionados offers a tantalizingly rare glimpse behind the Broadway curtain. In 1970, right after the triumphant premiere of Stephen Sondheim’s ground-breaking concept musical “COMPANY,” the renowned composer and lyricist, his director Harold Prince, the show’s stars, and a large pit orchestra all went into a Manhattan recording studio as part of a time-honoured Broadway tradition: the making of the original cast album.
In 1970, right after the triumphant premiere of Stephen Sondheim’s ground-breaking concept musical “COMPANY,” the renowned composer and lyricist, his director Harold Prince, the show’s stars, and a large pit orchestra all went into a Manhattan recording studio as part of a time-honoured Broadway tradition: the recording of the original cast album.
What ensued was a marathon session in which, with the pressures of posterity and the coolly exacting Sondheim’s perfectionism hanging over them, all involved pushed themselves to the limit — including theatre legend Elaine Stritch, who fought anxiety and exhaustion to record her iconic rendition of “The Ladies Who Lunch.”
With thrilling immediacy, legendary filmmaker D. A. Pennebaker offers an up-close view of the larger-than-life personalities, frayed-nerve energy, and explosive creative intensity that go towards capturing the magic of live theatre performance.
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FILM FACT: D. A. Pennebaker, initially intended the project as a pilot for a television series dedicated to the making-of different cast recordings. D. A. Pennebaker’s small film crew joined the musical's cast at the Columbia Records 30th Street recording studio in early May 1970, shortly after “COMPANY” opened on Broadway. As “COMPANY” continued its successful run on Broadway, the film was screened at the New York Film Festival in September 1970, unanimously praised by a crowd that filled the auditorium to capacity. The documentary was scheduled to be broadcast in New York on the 25th October, 1970. However, a week after the original screening, all the original producers for the proposed series were hired by Hollywood for a production at M-G-M. With nobody left in New York to spearhead the making-of series, the idea was scrapped, leaving only the pilot film behind. The film earned a brief rave review in The New York Times when slated for a theatrical screening at the IFC Center in October 2014. ‘COMPANY’ lacks a linear plot, depicting instead a story occurring in the mind of the central character, a concept musical composed of short vignettes, presented in no particular chronological order, linked by a 35th birthday celebration on the 26th April, 1970 at the The Neil Simon Theatre, originally the Alvin Theatre, at 250 West 52nd Street in the Theatre District of Midtown Manhattan in New York City. “COMPANY” was among the first book musicals to deal with contemporary dating, marriage, and divorce. As Stephen Sondheim explained, “Broadway theatre has been for many years supported by upper-middle-class people with upper-middle-class problems. These people really want to escape that world when they go to the theatre, and then here we are with “COMPANY” talking about how we're going to bring it right back in their faces.”
Cast: Stephen Sondheim (Composer / Lyricist), Harold Prince (Producer / Director), Elaine Stritch (Joanne), Dean Jones (Robert), Pamela Myers (Martha), Beth Howland (Amy), Barbara Barrie (Sarah), Charles Braswell (Larry), Susan Browning (April), George Coe (David), John Cunningham (Peter), Steve Elmore (Paul), George Furth (Book), Harold Hastings (Musical Director), Charles Kimbrough (Harry), Merle Louise (Susan), Donna McKechnie (Kathy), Teri Ralston (Jenny) and Thomas Z. Shepard (Record Producer)
Director: D.A. Pennebaker
Book: George Furth
Producers: Chester Feldman, Chris Dalrymple, Daniel Melnick, Delia Doherty, Judy Crichton and Peter Hansen
Musical Director: Harold Hastings
Composer and Lyrics: Stephen Sondheim
Costumes: D.D. Ryan
Cinematography: D.A. Pennebaker (Director of Photography), Jim Desmond (Director of Photography) and Richard Leacock (Director of Photography)
Image Resolution: 1080p
Aspect Ratio: 1.37:1
Audio: English: 1.0 LPCM Mono Audio
English: 1.0 Dolby Digital Mono Audio
Subtitles: English
Running Time: 53 minutes
Region: Region A/1
Number of discs: 1
Studio: JANUS FILMS / Pennebaker Associates, Inc. / The Criterion Collection
Andrew’s Blu-ray Review: With this amazing ORIGINAL CAST ALBUM: “COMPANY” [1970] it chronicling the recording of the Original Cast Album for the Broadway show “COMPANY,” this legendary documentary is a vital portrait of the dramatic art form and the personal drama that unfolds offstage.
As the original cast gather in the studio to record the opening number of Stephen Sondheim’s “COMPANY,” one member of the ensemble is still holding his cigarette as he joins his colleagues to sing the title song. This is the 1970’s, and D.A. Pennebaker was given 24 hours of behind-the-scenes access to create his seminal theatre documentary Original Cast Album: Company
In 1970, “COMPANY” with music and lyrics by Stephen Sondheim, book by George Furth, and direction by Hal Prince — was a strange new “concept musical” that lacked a traditional plot. Instead, the show was comprised of a series of vignettes telling the tale of Bobby played by Dean Jones, a chronic bachelor, and all his married friends as they gather to celebrate his 30th birthday. D.A. Pennebaker’s documentary, offers intimate insight into this innovative new show and the careful craft and pure manic energy that went into putting it on.
When “COMPANY” opened on Broadway, it changed musicals forever — shaking up the form, it paved new ground for the kinds of dark emotions and complex relationship struggles that could be portrayed onstage. Shortly after it opened to triumphant reviews, the production team assembled the cast and orchestra to record the original cast album in New York. This marathon studio session, which ran all day and nearly all night, is immortalized by D.A. Pennebaker and his documentary crew. Both seemingly impossible to please, composer/lyricist Stephen Sondheim and record producer Tom Shepard pepper the performances with incessant criticism and commentary as the night wears on. The camera captures it all: the tortured creative process and the triumphant effort to create musical harmony amidst urban cacophony.
Even though D.A. Pennebaker notes the distinct challenge of filming in the recording studio — it was like “trying to light a basketball game,” and D.A. Pennebaker says — “the camera crew’s presence never feels forced or unnatural.” D.A. Pennebaker approach was to be an invisible audience, careful not to intrude on the creative process. Elaine Stritch as Joanne, who played the role of Joanne, calls D.A. Pennebaker the “sneak of all time,” with the cast barely noticing that anyone was filming despite the crowded quarters.
The immersive footage cuts between scenes of actors singing to shots of producers rubbing their temples in frustration as the night drags on. In order to follow the performances as non-disruptively as possible, the camerawork is entirely handheld as it pushes in for close-ups on solos and moves around the room during ensemble numbers. The blurriness and shakiness of many of these shots adds a covert human touch, as if D.A. Pennebaker is sneakily stealing scenes from Broadway’s hidden moments. Occasionally, the camera cues its movements to the music — for example; it pulls focus back and forth during the duet of “Barcelona” between Bobby and the flight attendant, April played by Susan Browning.
The artists are hyper-focused on their craft, and their steadfast commitments to creative choices become nearly absurd. Stephen Sondheim, an ever precise perfectionist with his rhymes, corrects Donna McKechnie as Kathy pronunciation as she sings: in the lyrics “Bobby-baby-Bobby-bubbi,” “bubbi” has same vowel sound as “good,” and it is essential that she gets it right. Stephen Sondheim is obsessive and insistent in his correction, having her repeat it over and over until he’s satisfied — the song, fittingly, is entitled “You Could Drive a Person Crazy.”
Clad in a black turtleneck, lips pursed, a cigarette dangling between his fingers, Stephen Sondheim seems every bit the image of a tortured artist. Yet in one of the direct acknowledgments of the documentary crew, Sondheim opens up to the camera about wanting to be taken seriously as a composer. The industry sees him primarily as a lyricist, and even though he is a master wordsmith, the music is what he really cares about. “COMPANY” is a major development in his career, and even Broadway legends have their fears about how their work will be received; everyone involved in the production handles their craft with intense seriousness, even as they have fun with some of the more comedic songs.
The documentary’s strength lies in this amplification of internal angst that reveals how closely the musical is intertwined with their personal lives. Hal Prince and George Furth tinkered incessantly while developing the show’s structure, writing roles with the actors in mind and tailoring the parts to their authentic experiences. The line between character and actor becomes further blurred as we see them perform each number without the grandeur of the stage, set, or costumes, instead being entirely stripped down to embody the raw emotion. Pam Myers, making her Broadway debut in the role of Marta, sings the solo “Another Hundred People” about the energy of the city, and perfectly captures her wide-eyed astonishment.
Meanwhile, the show’s protagonist, Bobby, is deeply afraid of committing and opening up to others, and actor Dean Jones was dealing with a crumbling marriage at the time — the close-ups during his emotional finale, “Being Alive,” show us a man at his most vulnerable, laying himself completely bare to the audience. Viewers of the documentary may not get the same visceral sensation of seeing an actor’s physical body at the theatre, yet D.A. Pennebaker’s camera brings us closer to them than we could ever actually get in real life.
The most mesmerizing turn occurs once most of the recording is finished and everyone goes home, save for Elaine Stritch, who still has her big eleven o’clock number “The Ladies Who Lunch” to perform. Elaine Stritch needs to be alone with only the creative team to do it, wanting to avoid judgment from the other performers as she struggles with the song; even this immensely talented actor, playing a role that was written specifically for her, is tormented by self-consciousness and self-criticism. The story suddenly becomes intensely suspenseful, leaving us on the edge of our seat: will she be able to sing it or not?
The scene is scorched with her raw frustration as she struggles to deliver the show stopping number with the appropriate power, screaming at herself for not achieving something deemed satisfactory. Tom Shepard offers sharp jabs from the booth — “Once more from the top. Sung, please,” he says wearily, after yet another failed take — and the exhaustion starts to take its toll on everyone. Elaine Stritch begins to unravel, dragging herself through hell for the sake of art. At the end of this long day, she is bare-faced with raw vocal cords, but Elaine Stritch removes her hat, fluffs her hair into spiky peaks, and tries again and again to nail it, showing us that the act of artistic creation can be an immense joy, but also a turbulent torture.
Finally, Tom Shepard decides to end the agony, calling it quits to start fresh for the next day. With a quick cut to that subsequent session, we see Elaine Stritch arrive energized, coiffed, and glamorous in full makeup and false eyelashes to deliver a triumphant performance. And just like that, the flashing Original Cast Album sign leaps onscreen as we hear voices say “Great. Sensational – Wrap it up,” adding a quick comedic button that belies none of the preceding pain as the show goes on.
D.A. Pennebaker’s work began with the intention to film a series of original cast recording sessions, none of which materialized after Company was filmed. Yet as the opening scroll of text informs us, “There was never a next one. This was it.” Theatre is a liminal art form, and no two performances are ever quite the same, ORIGINAL CAST ALBUM: “COMPANY” continues to be required viewing for theatre nerds everywhere. It was parodied to perfection by the television series Documentary Now! in their “Original Cast Album: Co-Op” episode, written by John Mulaney and Seth Meyers and directed by Alex Buono.
Transposing the story to a Manhattan co-op building and creating original songs about co-op boards and elevator rides, the episode is both satire and loving homage to the strange art form of the Broadway musical and all the backstage drama and devotion that keeps it alive. D.A. Pennebaker’s documentary is lightning in a bottle, or perhaps a tornado in a recording studio — a whirlwind of egos and exhaustion that miraculously results in the output of an album.
Perhaps there is something inherently masochistic about musical theatre, chasing perfection in ephemeral performances eight times a week. ORIGINAL CAST ALBUM: “COMPANY” demystifies and deglamourizes the creative process, allowing us to see the blood, sweat, tears, and endless cigarettes that go into putting on a show. It’s much more than a behind-the-scenes look at Broadway — it tears Broadway open to get at its beating heart. It’s a story of real people striving toward the unreachable both on the stage and in the recording studio, dedicating themselves to often unglamorous and emotionally brutal work, staking their entire lives and livelihoods for the process of creation. Each performance may be a fleeting moment, but this filmic record and the transcendent power of theatre endure — in the words of “COMPANY” and its final lines, they will “always be there, as frightened as you, to help us survive being alive.”
It is always a joy to listen to one of composer/lyricist Stephen Sondheim and George Furth’s most arresting scores, and the music is the absolute centre of D.A. Pennebaker’s film. The recording of individual songs are shown in full, sometimes in repetition as the company are pushed to find the perfect take, clearly with no time to finish their cigarettes. With renewed interest in “COMPANY” following Marianne Elliott’s rather extraordinary gender-switched production which is finally heading for a Broadway transfer following a pandemic delay, there is no better time to revisit the origins of this show and the personalities who inhabited it all for the first time.
This warts-and-all insight into the process of formulating, refining and producing a cast album is both fascinating and oddly compelling. Lacking a specific narrative arc, D.A. Pennebaker just immerses his camera in the unfolding dramas as singers who performed the show on Broadway every day struggle to meet the demands of the music with the composer and producer in the room. With composer/lyricist Stephen Sondheim himself policing every note for rogue amendments that change his vision, we are shown the growing exhaustion as multiple takes affect the performers’ motivation.
At only 53 minutes, this is a short film but it is filled with insightful content that stands-up well even for today. D.A. Pennebaker films the drama around the room so very well, focusing tightly on the actor’s faces as they twist themselves into composer/lyricist Stephen Sondheim’s complex rhythmical patterns. Stephen Sondheim shows the tightly packed space filled with musicians, singers and interested parties, while noting the chasm between performing on stage and trying to create a definite cast recording in a windowless pressure-cooker.
Just as we come up to end of 53 minutes, we get this notice saying: Thanks Danny Melnick, wherever you are and thanks to Hal Prince, Stephen Sondheim, George Furth and everybody who helped make this release possible. And as well Karen Shatzkin, Bob Montgomery and Stephen Sondheim’s many, many fans who never give up. And Danny Melnick, if you get any more ideas like this give me a ring.
ORIGINAL CAST ALBUM: COMPANY MUSIC TRACK LIST
COMPANY [Performed by Dean Jones and Company]
THE LITTLE THINGS YOU DO TOGETHER [Performed by Elaine Stritch, Barbara Barrie, Charles Kimbrough and Company]
SORRY – GRATEFUL [Performed by Charles Kimbrough, George Coe, Charles Braswell and Dean Jones]
YOU COULD DRIVE A PERSON CRAZY [Performed by Donna McKechnie, Susan Browning and Pamela Myers]
HAVE I GOT A GIRL FOR YOU [Performed by Charles Braswell, John Cunningham, Steve Elmore, George Coe, Charles Kimbrough and Company]
SOMEONE IS WAITING [Performed by Dean Jones and The Vocal Minority]
ANOTHER HUNDRED PEOPLE [Performed by Pamela Myers]
GETTING MARRIED TODAY [Performed by Beth Howland, Steve Elmore, Teri Ralston and Company]
SIDE BY SIDE BY SIDE / WHAT WOULD WE DO WITHOUT YOU? [Performed by Dean Jones and Company]
POOR BABY [Performed by Barbara Barrie, Teri Ralston, Merle Louise, Beth Howland, Elaine Stritch, Charles Kimbrough and George Coe]
TICK-TOCK [Performed by Orchestra]
BARCELONA [Performed by Dean Jones and Susan Browning]
THE LADIES WHO LUNCH [Performed by Elaine Stritch]
BEING ALIVE [Performed by Dean Jones and Company]
FINALE [Performed by Company]
* * * * *
Blu-ray Image Quality – The Criterion Collection presents us with the amazing ORIGINAL CAST ALBUM: “COMPANY” and has now been given a 4K restoration new digital transfer was created in a 16-bit 4K resolution on a Lasergraphics Director Film scanner from the original 16mm A/B Ektachrome reversal, except for the opening credits, which were restored from a 35mm blow-up. Thousands of instances of dirt, debris, scratches, splices, and warps were manually removed using MTI Film's DRS, while Digital Vision's Phoenix was used for jitter, flicker, and small dirt. This is a wonderfully organic looking presentation that preserves the "grittiness" of the 16mm source while noticeably improving both saturation and general detail levels over previous home video releases (I've had them all). There are definitely ebbs and flows to fine detail, some resulting from technical issues like focus pulling on the fly, but close-ups in particular offer abundantly precise renderings. Some of the relatively wide shots are slightly blurry at times, as has always been the case. The restoration efforts have definitely improved things, though there are still just a few errant moments, as in a very noticeable hair in the gate during one of the Beth Howland sequences.
Blu-ray Audio Quality – The Criterion Collection brings us the amazing ORIGINAL CAST ALBUM: “COMPANY” with a 1.0 LPCM Mono Audio experience. The monaural soundtrack was remastered from the original 1/4-inch and 16mm magnetic tracks using Avid's Pro Tools and iZotope RX. While there's arguably not an overly wide presentation here, fidelity is excellent, delivering both the musical and spoken moments without any issues. Those hoping for an improvement in some of the indecipherable comments made during the “Elaine Stritch incident” will unfortunately be disappointed.
* * * * *
Blu-ray Special Features and Extras:
Newly restored with a stunning 4K digital transfer, which was supervised by Chris Hegedus and Nate Pennebaker, with an uncompressed 1.0 LPCM monaural soundtrack.
Special Feature: Audio Commentary featuring D.A. Pennebaker, Elaine Stritch and Harold Prince [2001] [1080p] [1.37:1] [00:00] This offers some unused audio commentary snippets recorded in 2001 from D.A. Pennebaker, Elaine Stritch, and Harold Prince while playing to scenes from the documentary. Director D.A. Pennebaker has the opportunity to separately interview Elaine Stritch and “COMPANY” director Harold Prince about their memories of the marathon recording session, and their insights are fascinating. They discuss the genesis of “COMPANY,” its evolution, the contributions of choreographer Michael Bennett, the brilliance of Sondheim, and how Company changed the face of Broadway. Harold Prince attributes the documentary's longevity to “the cliff-hanger” of whether Elaine Stritch will be able to get through her signature solo performance, and Harold Prince and Elaine Stritch recall the emotional issues that plagued Dean Jones during his brief run in the show. Elaine Stritch is great deal of fun, and it's a treat to hear her analysing her own work. Elaine Stritch admits she was “scared” and trying too hard during her initial renditions of “Ladies Who Lunch,” and debunks the notion she planned the whole debacle to create a hook for the documentary. Elaine Stritch classifies the recording of the song as “a mountain I had to get over” and credits that track with saving both her career and her life. For the recording session, D.A. Pennebaker also chimes in with his recollections of the shoot and talks about his methodology and was concerned that his cameras would be too noisy and he’d be thrown out especially the realism of the handheld camera (which was a novelty in that era), and his fear of disrupting the session and ruining takes by getting in the way of the performers. D.A. Pennebaker comments that the cameras were very primitive by today’s standards.
Special Feature: Audio Commentary with Composer/Lyricist Stephen Sondheim [2021] [1080p] [1.37:1] [00:00] Stephen Sondheim offers a really nice and appealing remembrance on this 2021 Stephen Sondheim audio track that covers the dramatic and musical construction of “COMPANY,” changes that were made to the show during its development, and also discusses the writing of the songs in “COMPANY” and his part at the recording session. Stephen Sondheim speaks about how he wanted the definitive renditions of the songs performed while at the same time giving the artists their space. Stephen Sondheim also comments that he was used to lengthy rehearsals and the shaping of a musical over many weeks, so the one-day recording session didn’t bother him. Stephen Sondheim also comments on how the cast recordings were made back in the day, his personal composing style, and the basic tenets of musical theatre. The 91-year-old legend sounds fresh as a daisy and is sharp as a tack, sharing memories of all the performers, how the classic song “Another Hundred People” almost got cut from the show, and how D.A. Pennebaker was completely unobtrusive during shooting. After hearing Elaine Stritch's perspective on the “The Ladies Who Lunch” recording on the previous audio commentary, it's marvellous to get Stephen Sondheim's somewhat different perspective. Few men on this planet are more brilliant than Stephen Sondheim, and it's a gift to have his remarks about one of his greatest works preserved for posterity.
Special Feature: SIDE BY SIDE: Stephen Sondheim and Jonathan Tunick on “COMPANY” [2020] [1080p/480i] [1.78:1/1.37:1] [29:27] Here we get to view Stephen Sondheim and Jonathan Tunick talking about “COMPANY.” Jonathan Tunick first learned of Stephen Sondheim when he heard the score for “A Funny Thing Happened on the Way to the Forum,” admired the score and the lyrics, and wanted to work with him. Stephen Sondheim and long-time orchestrator Jonathan Tunick talk about their initial collaboration and creation of “COMPANY,” which was nominated for a record of fourteen Tony’s – and the legendary recording of the cast album. Stephen Sondheim notes that Jonathan Tunick has a sense of drama in his orchestrations and is attentive to lyrics, lighting, and other elements of the production and praises each other's talent. Stephen Sondheim composes on the piano and admits that he knows nothing about orchestrating. Stephen Sondheim and Jonathan Tunick discuss the action of “COMPANY” and the legendary recording of its cast album. Hal Prince was in favour of the documentary, figuring it would be good publicity for the show. Hal Prince recalls that “the photographers filmed everything.” Hal Prince himself appears only briefly in the documentary. Stephen Sondheim and Jonathan Tunick examine various orchestrations and performances, and also discuss the “COMPANY” cast recording session also discuss the technical side of recording a cast album, because a 12 inch Long Playing Album had limited space, cuts had to be made in some of the songs. Stephen Sondheim wrote a song called “Crinoline” which eventually became “The Ladies Who Lunch.” Stephen Sondheim and Jonathan Tunick talk about the trials and tribulations on how “COMPANY” was filmed, and of course recall and analyse the notorious Elaine Stritch portion of the documentary in which Elaine Stritch loved bantering back and forth with others and how Elaine Stritch had been scheduled to record her number early in the day but traded spots with Dean Jones, who felt he wouldn’t be in decent voice late at night. Elaine Stritch also comments that she was very “mercurial; and the slightest thing would set her off.” But most of all Stephen Sondheim loved the final version of the film. This Zoom featurette was moderated by former New York Times theatre critic Frank Rich who interviews the two men at the same time in December 2020. Now and again we get clips from the ORIGINAL CAST ALBUM: “COMPANY.”
Special Feature: JONATHAN TUNICK on the Art of Orchestrating [2021] [1080p/480i] [1.78:1/1.37:1] [18:39] In this Jonathan Tunick conversation, it was recorded in April, 2021, and this a new conversation with the Tony-, Grammy-, Emmy, and Academy Award® winning orchestrator and composer Jonathan Tunick talks to Ted Chapin, author of Everything Was Possible: The Birth of the Musical “Follies” about the art of orchestration and is an honest to goodness sit down conversation between Jonathan Tunick and Ted Chapin. Broadway musicals that Jonathan Tunick worked on included “Promises, Promises,” “COMPANY,” “Sweeney Todd,” “A Little Night Music,” and “Into the Woods.” Once again we get clips from the Original Cast Album “COMPANY.”
Special Feature: Original Cast Album: “Co-Op” [2019] [1080p] [1.78:1] [24:37] Here we get to view an episode of the parody TV series “DOCUMENTARY NOW!” which brilliantly spoofs of the D.A. Pennebaker Original Cast Album: “COMPANY” documentary. The programme begins with the cast at the studio being informed that the show has closed but they must forge ahead anyway to record the score that was specially composed for this spoof with a fresh, often hilarious score and is spot-on, often hilarious performances from John Mulaney, Richard Kind, Paula Pell, Renee Elise Goldsberry (who portrayed Angelica in the original Broadway production of “Hamilton”), Alex Brightman, and SNL alum Taran Killam. Among the highlights are “Christmas Tips” by Richard Kind and “I Gotta Go,” a parody of Elaine Stritch’s breakdown when trying to provide a usable version of “The Ladies Who Lunch.” John Mulaney, in black wig and 1970’s style sideburns, is the Stephen Sondheim-like composer, alternately brooding and enthusiastic. Actress Dame Helen Mirren welcomes viewers to Season 52 of DOCUMENTARY NOW! The writers include Fred Armisen, Bill Hader, and Seth Meyers.
Special Feature: DOCUMENTARY NOW! Conversation [2020] [1080p/480i] [1.78:1/1.37:1] [33:10] The cast and crew of the Original Cast Album: “Co-Op” reunite on Zoom to discuss the D.A. Pennebaker documentary that inspired the spoof. This was a newly recorded event and features John Mulaney [Co-writer/Actor], Alexander Buono [Director], Paula Pell [Actress], Alex Brightman [Actor], Rénee Elise Goldsberry [Actress], Richard Kind [Actor] and Eli Bolin [Composer] and discuss and talk about their love of the ORIGINAL CAST ALBUM: “COMPANY” documentary, and the genesis of their spoof, also the important legacy of Broadway cast albums, and their experiences writing and performing the Original Cast Album: “Co-Op” parody in this jovial featurette. Of the performers in the original documentary, Elaine Stritch is the only one to appear conscious of the camera. At a screening of Original Cast Album: “Co-Op,” Thomas Shepard, the record producer for the Original Cast Album “COMPANY,” was in the audience and felt bad about how he treated the talent, believing he should have been more supportive. John Mulaney speaks about how he learned to write lyrics to existing melodies in a college course. They also extol Stephen Sondheim, relate personal anecdotes about him, and share Stephen Sondheim's reactions after he viewed the mockumentary.
Special Feature: Additional Audio Commentary Excerpts [2000] [1080p] [1.37:1/1.78:1] [11:46] In 2000, D.A. Pennebaker [Director] interviews Hal Prince [Director/Producer], Jim Desmond [Cameraman], Eliane Stritch [Actress] and Chris Hegedus [American documentary filmmaker] in this never-before-heard outtakes interviews discuss the documentary and address such topics as how Elaine Stritch got cast in the show, but sadly Elaine Stritch was not in a good place in her career when she got the call from Hal Prince offering Elaine Stritch the role of Joanne. During the recording session, Elaine Stritch was concerned about getting everything right and nothing in the film was staged and Elaine Stritch wasn’t merely self-pitying. We hear Hal Prince's ideas for the musical's presentation, “the Fred Astaire philosophy” of rehearsing until you drop, and Elaine Stritch's interpretation of “The Ladies Who Lunch.” D.A. Pennebaker and cameraman Jim Desmond also share some titbits about the film and its production values. Elaine Stritch is asked by an audience member after a screening of the documentary how she felt about her appearance in the film, Elaine Stritch answered, “I looked like Margaret Rutherford doing the life of Judy Garland.” While hearing the never-before-heard excerpt audio commentary, you get to view at the same time a short section of the
BONUS: Consists of a really nice 12-page fold-out booklet entitled THE LITTLE THINGS YOU DO TOGETHER featuring an essay by author Mark Harris, and also includes a cast and crew listing, some colour photos, and transfer notes is tucked inside the front cover. We are informed that author Mark Harris is a journalist and film historian, and author of “Pictures at a Revolution” [2006], “Five Came Back” [2014] and “Mike Nichols: A Life” [2021].
Finally, ORIGINAL CAST ALBUM: “COMPANY” deglamourizes and demystifies the creative process. Fighting the clock, and the cast move quickly while striving for the best possible rendition of each song. Singers, musicians, and recording engineers collaborate toward perfection through glamor less, repetitive work. ORIGINAL CAST ALBUM: “COMPANY” at only 53 minutes long, this is a short film but filled with insightful content that stands-up well today. D.A. Pennebaker tracks the drama around the room so well, focusing tightly on the actor’s faces as they twist themselves into Sondheim’s complex rhythmical patterns. D.A. Pennebaker shows the tightly packed space filled with musicians, singers and interested parties, while noting the chasm between performing on stage and trying to create a definite cast recording in a windowless pressure-cooker. D.A. Pennebaker’s matchless 1970 documentary films the exhausting recording of a Broadway cast album, and captures the resilience of theatre’s artistic spirit in the process. D.A. Pennebaker’s must-watch documentary, ORIGINAL CAST ALBUM: “COMPANY,” brings some of the magic and madness of live theatre into your home. D.A. Pennebaker set the standard for theatrical filmmaking and with the pandemic generating renewed interest in how productions are made; and this Blu-ray release is very timely. Very Highly Recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
