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"Company" took audiences by surprise with its modular set, fragmented narrative and unheroic protagonist. Sondheim called it "a collection of playlets" held together "by a central character who observes as much as he instigates."
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seattletimes.nwsource.com/html/entertainment/2003303274...
seattletimes.nwsource.com/html/entertainment/2003303274_oldies15.html
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... about her path into the woods could be those of the protagonist, Ben, in ''Follies. .... Much as one respects Mr. Sondheim's maturity - and, as always, ...
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www.nytimes.com/books/98/07/19/specials/sondheim-paths....
www.nytimes.com/books/98/07/19/specials/sondheim-paths.html
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Its protagonist was a playwright, corrupted by success. ... Mr. Sondheim, standing on a chair, told everyone there would be thre e party scenes - one ''laid ...
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www.nytimes.com/books/98/07/19/specials/sondheim-team.h...
www.nytimes.com/books/98/07/19/specials/sondheim-team.html
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This instance in Sondheim's work perfectly parallels Lacanian theory. ... A play's protagonist enters into a battle with conventional notions of religion, culture, or self. Brustein finds examples of his theory by tweaking traditional interpretations of modern classics and does not regard a play's experimental style as...
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www.ohiostatepress.org/Books/Book%20PDFs/MacKenzie%20Th...
www.ohiostatepress.org/Books/Book%20PDFs/MacKenzie%20Theatre.pdf
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Company's protagonist, Robert, is surrounded by five married couples and three girlfriends whom Sondheim individualizes in the opening number by the way in which they address the main character: "Robert," "Bob," "Bobby," "Kiddo," "Bobby Baby," "Angel," etc.
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www.sondheim.com/discussions/columns/opendoors.html
www.sondheim.com/discussions/columns/opendoors.html
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Sondheim collaborated with George Furth (book) and Harold Prince (director) to create Company, the first of the Sondheim/Prince shows that were to lay the foundation for the post-Golden Age Broadway musicals. Company was the first non-linear, "concept," musical.
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www.sondheim.com/shows/company/
www.sondheim.com/shows/company/
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Sondheim's art is a partially successful attempt to re-assert connections and repair narcissistic injuries, introjecting the absentmother as part of the superego. The resistance to dramatizing character pathology through biography is both an expression of society's postmodern fragmentation and resistance to Oedipal drama.
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www.pep-web.org/document.php?id=PSC.061.0308A
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I watched The Man Who Knew Too Much a couple nights ago with Beth. I had seen it twice before, both times on a cheap videocassette with muffled audio that made it difficult to pick up the dialogue. As a result, I had always dismissed the film rather ... Now having just watched it on a cheap DVD with much better audio,
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www.sobriquetmagazine.com/public_html/2005/05/man-who-k...
www.sobriquetmagazine.com/public_html/2005/05/man-who-knew-too-much-1934-review.html
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In Robert we see, for the first time, the prototypical Sondheim male protagonist. ... Only in Pacific Overtures and Assassins, the two shows that Sondheim wrote with John Weidman, is some variation on this protagonist missing.
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sondheim.com/features/ssintro2b.html
sondheim.com/features/ssintro2b.html
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