The Story of Zug's Production of Sondheim's "Company"

as published in the Sondheim Revue

Co-Directors Cari and Hanns Zollner
Musical Director David Smith

In September 1999, Company was staged for the first time in Switzerland when the English TheatreGroup of Zug presented the show for five performance at the Casino Theater. The group is nonprofit and semiprofessional, depending on sponsors, donors and ticket sales for existence.

'Groups like ours are on every street corner in the U.S.," said Cari Zöllner the artistic director, "but here in Continental Europe and especially Switzerland, we are truly an exotic creation. The organization has about 110 members who love musical theater and feel someone needs to fill a gap (an abyss really) here in Switzerland for high-quality entertainment of this sort. The Zug-Zurich-Lucerne area is teeming with multicultural, multi-lingual individuals who are starved for American theater events in the original language."

TSR asked Zöllner to keep a journal of the process of production. She was joined by David Smith, the musical director.

Jan. 14. Green light for Company. The project was approved by the powers that be, and our public presentation went very well. Now we look for sponsors and a cast.

Jan. 19. A preliminary meeting with the manager and technicians of the theater were booked went very well. All very helpful, if skeptical.

Feb. 1. After two exhilarating and exhausting days of auditions, we have our cast. A wonderfully diverse group of individuals. Five Americans, four Brits, one Spaniard, two Swiss, one Norwegian and one Canadian, united at the moment mainly by their passion for Mr. Sondheim's music. A couple had never heard of S.S. before, but now are total converts.

Feb. 10. Many hours spent looking at libretto, score, scenes, agreement on General concept. Rehearsals to begin in March.

Feb. 22. The sets are developing into quite a headache. With such limited funds in the budget, simplicity will have to be the word.

March 18. The first two music rehearsals were... "interesting" (a kind, if oversimplification, from the musical director, David). time constraints from all cast members are making scheduling a major and time-consuming task. David is originally from Wales, now teaching in a local private school. He has a contact to the Welsh College of Music and the University of Cardiff, so we are able to draw on their vast wealth of fabulous graduates for our orchestra.

April 3. Great news! The cantonal theater / opera house in Lucerne will donate a basic structure of three levels for our set design. They used it (an omen? a sign?) last year in their one and only Sondheim production, Forum. The coincidence is extraordinary.

April 26. Rehearsals resumed after Easter break. Today was the off-book deadline. Ha Ha Ha. The scenes are blocked and, for the most part, working well. Re "Side by Side' -- choreographing for people of such extreme coordination differences is a huge ... yes... challenge!

D.S.: May 1. Into battle! Will the cast believe me when I tell them that "Company" (the song) is actually built upon a series of straightforward leitmotifs? "Isn't it, Isn't it, Isn't it.' NOT! My powers of persuasion surely aren't that good.

May 15. Need to purchase additional sound equipment. As of now we're five body mikes short. Inadequate mixing board. Another financial Alp to climb.

D.S.. May 18. Take courage! Movements have been added now for 'Side by Side. ' Will the voices and text ever return, or is it destined to be a piano solo?

D.S.: May 20. How to explain to Bobby that -would I know her' and "did I know her' are not interchangeable without it sounding like an English lesson????????

May 25. Problems with the karate! A very mobile Sarah and a less "flexible" Harry. Must rethink and recount. Injury definitely unwanted (unless pre- meditated by the director).

May 28. Budget approved for additional sound equipment. Will have two sound engineers coming over from Wales with the orchestra. They know the show. Sigh of relief.

June 1. A horrific month for people's other commitments, other shows, business travel, concerts. Can only do piecemeal work until the 22nd. There are many people in the area who were at one time in a singing and/or theater career but for various reasons (marriage, job change, etc.) ended up in Switzerland. We also serve as a launching pad for younger professional talent in search of a stage and audience. We get these people seen and heard while providing them with something for their CVs. Our "Paul" has just been cast as Raoul in Phantom for the next year with a professional German touring group.

D.S.: June 2. "I stood it. " A tirade from a cast member, totally inappropriate. Is this why I'm doing this? That's part of the job, I suppose.

D.S.: June 7. Frère Alois, a local monk, wandered into the April/Bobby bed- 'Barcelona " scene. HE LOVED IT and is anxious to see the rest of the show.

D.S.: June 15. Worried about the long summer holiday break coming up. I'll be shocked if the music hadn't etched itself on the gray matter and vocal chords by now.

June 24. Our first and last real run- thru with entire east present before a six-week break. Definitely found out where we are and where we are NOT.

Aug. 16. Five weeks to opening night. Sets were constructed and painted over the summer and the orchestra rehearsed. Our audiences are made up mostly of people who speak English as a second, third or even fourth language. Not to mention those hearty individuals who love our productions so much they come without understanding a word of English -bless them!

D.S.: Aug. 17. Had the men all on their own. WONDERFUL rehearsal. Got sooooo much done.

Aug. 29. All-day rehearsal. Lots of detail work. Oh dear! This time Bobby had Joanne staring at his 'karma" instead of his "charisma" in the night- club scene. LINES, LINES, LINES!!!!

D.S.: Aug. 30. Its so wonderful when music and movement come together "Company' is now there! It looks and sounds wonderful.

Sept. 2. Forget the Sept. 16 load-in as promised. A ballet troupe will not be removing their equipment until the next day. That cut's one technical rehearsal we so desperately need.

Sept. 19. The trombone player has mislaid his music. Must get it by courier from London. AARGHH!

Sept. 20. The band arrived today. These young, talented musicians come to play for us just for the price of a plane ticket. Their level of enthusiasm fully matches their competency. But the tenor sax was not on the plane. Chris, the trombone player, is copying his notes from the piano score and from memory. Thank God he's done the show before. 1 always love the first rehearsal with the band and east together. "Wow, oh wow.' What an atmosphere!

Sept. 24. OPENING NIGHT. Bobby walks in with a cortisone spray in his hand and only whispering!! David took him down to the pit to see just how serious it really is. Half-hour to curtain David says the voice is there.

Sept. 30. Last entry! WE DID IT! TO PARAPHRASE "BEING ALIVE," IT WAS SURE BETTER LIVING IT THAN LOOKING AT IT. The audience reaction? Zöllner said, "Every audience was different. The night we had Teenagers who came down from the mountains from a private school was interesting. They laughed at the wrong moments. But for the most part there was a stunned reaction, then a delayed euphoria. A wow!"