Stephen Sondheim turns 83 today — a birthday always worth noting, though this time it will pass without an entire year of galas and concerts, as was the case on the composer’s 80th. Even considering the Jewish contributors to modern American musical theater — Jerome Kern, George and Ira Gershwin, Irving Berlin, Richard Rodgers, Lorenz Hart, Leonard Bernstein (and many, many more) — it is Sondheim who has done the most to explore what is possible within the boundaries of the musical form. He is constantly pushing and reinventing, making musicals about ideas, themes, and plots that few other composers would have taken on. As such, I have selected what I consider to be his three finest musicals, though dissent in the comments section is welcome.
“A man with no emotional commitments reassesses his life on his 35th birthday by reviewing his relationships with his married acquaintances and girlfriends. That is the entire plot.”
In fact, there isn’t really a plot at all to Stephen Sondheim’s “Company,” which is what makes show such an important break in the history of the American musical. “Company” derives its content from a series of one-act plays written by George Furth, all about a couple in a relationship and an outsider. In the finished piece, the outsiders were composited into a single character, Bobby, with each song a one-act play in itself, a window into the life of Bobby and his relationships with these married couples.