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Stephen Joshua Sondheim (/ ˈ s ɒ n d h aɪ m /; March 22, 1930 – November 26, 2021) was an American composer and lyricist. Regarded as one of the most important figures in 20th-century musical theater, he is credited with reinventing the American musical. [1]
"Getting Married Today" was conceived as "Sondheim's psychotic notion of a patter song" [4] to simulate the sensation of having a mental breakdown through verbal diarrhea and constantly changing the subject mid-sentence. Stephen Sondheim gave a masterclass on some of his songs, including this one, at London's Guildhall School. [5]
Company is a musical with music and lyrics by Stephen Sondheim and book by George Furth. The original 1970 production was nominated for a record-setting 14 Tony Awards , winning six. Company was among the first book musicals to deal with contemporary dating, marriage, and divorce, [ 1 ] and is a notable example of a concept musical lacking a ...
Stephen Sondheim, the Broadway legend behind shows like Into the Woods, Sweeney Todd, Company and more, died on Friday at age 91.Sondheim's lawyer and friend, F. Richard Pappas, announced the ...
To understand the influence Stephen Sondheim has had on the musical theater, imagine in the rock world that one artist had roughly the impact of Bob Dylan plus the Beatles. The undisputed master ...
Stephen Sondheim died in late 2021, but his influence, through letters and mentorship, continues to shape the world of musical theater.
[167] [168] In March 2010, Peters helped Stephen Sondheim celebrate his 80th birthday in the Roundabout Theatre Company "Sondheim 80" benefit. She was one of the Honorary Chairs. [169] [170] She had been part of the Roundabout Theatre's Sondheim gala for his 75th birthday. [171] In 2012, Peters became a Patron of The Stephen Sondheim Society. [172]
Time magazine explained that Sondheim is "still the great chronicler of married life" in all its form - in this song he demonstrates the bitterness of marriage. [1] Backstage described it as "biting contemplation of divorce." [2] Vulture calls the song a "stinging Coward-esque waltz."