Just saw it in Herndon, VA; a small but enthusiastic audience. Masterful stage film enhanced by the use of the original orchestrations from the seventies plus an appropriate inclusion of "Marry me a little". "Getting married today" brings down the house while "Another hundred people" received only a warm ovation even though Anika Noni Rose performed it brilliantly. Stephen Colbert shines in his section, and Martha Plimpton does wonders as Barbara Barrie did almost 40 years ago: a great performer like her father Keith Carradine. The real surprise is Neal Patrick Harris, who even though is too Generation X to play Robert, does provide insight and credibility to what originally should be a shallow character. And Patti LuPone delivers the best "The ladies who lunch" since Elaine Stritch did in 1970!

According to actor Neil Patrick Harris, the cast of "Company" had slightly more than a week of rehearsal time prior to its short run of performances at Lincoln Center's Avery Fisher Hall. One of those shows was filmed for release in movie theaters. The small but appreciative audience in one of those screenings in Minnesota was treated to a high-energy interpretation of the Stephen Sondheim musical: ensemble performing at its finest.

The book for "Company" has undergone a thorough rewrite from the original 1970 version, resulting in dialogue more attuned to the new millennium. As the couples interact with the bachelor protagonist Robert, the themes of marriage, divorce, loneliness, and life in the big city emerge in a montage of scenes built around some of most memorable music and lyrics ever written by Sondheim. This production was not "fluff," but a meaningful exploration of love, marriage, and the search for happiness in the stressful modern age.

This production isolated the performers on the forestage of the large Avery Fisher Hall. Supported (but not overwhelmed) by the magnificent New York Philharmonic Orchestra, the cast of "Company" brought the characters to life with a dazzling set of creative choices and physical routines. Many of the bits of business were undoubtedly the ideas of the skillful director Lonny Price. The potentially static horizontal plane was occasionally broken when performers interacted with the orchestra and the conductor, adding to the ensemble effect. For the filmed version, the camera work was superb, especially with close-ups. It was like being on the stage with the actors.

The cast obviously worked tirelessly on subtleties of performance and honesty in the emotional life of their characters. Along with his fine vocal technique, Harris evoked a sensitive character interpretation, and the other performers followed his lead. Every viewer will have a "favorite" performer in this production. It was clear that the live New York audience adored the crusty character of Joanne, as played by Patti LuPone. My favorite was Martha Plimpton's character of Sarah, due to the performer's adroit physical choices in the karate scene and her beautiful singing voice. There was also a "surprise" ending in a special touch that transformed the overall meaning of the musical from the original 1970 version. But there are no spoilers in this review. You will have to seize the moment and experience this unique production for yourself for that ending.

The range of abilities in this talented cast cannot be overstated. Technically, the Sondheim songs are not easy. The effortless vocal interpretations, the challenging choreography, and the depth of feeling in the characters made the $18 cinema ticket price a bargain for this once-in-a-lifetime opportunity. This is the kind of company I like to keep.

To me, Sweeney Todd will always be Stephen Sondheim's masterpiece. However, Company still shows a master at work, full of his challenging but truly inventive music(both in orchestral and vocal) and intelligently clever lyrics. While still demanding for the performers, in a way it is a little more accessible than Sweeney Todd. The story is also great in Company, it is always very entertaining, with truthful yet sometimes cynical observations on relationships, but it's also an emotional journey, with complex, deeply flawed and fully fleshed characters. This 2011 performance is a wonderful performance in every way. It looks good and stays true to Sondheim's idea of concept musical, and while some of the staging is somewhat minimalist it is very compelling as well and does a great job at making the characters and their relationships interesting and relateable. Sondheim's score is as you'd expect from him a powerhouse, it is very difficult to pick out a favourite song as they're all so good though The Ladies Who Lunch and Another Hundred People are definite contenders. The orchestra play magnificently throughout, and the conducting keeps things together without anything noticeable going awry. It was difficult to fault the performances either. Neil Patrick Harris' Bobby is sensitive and very charismatic, his rendition of Being Alive is emotionally heart-breaking. Patti LuPone comes very close to stealing the show with The Ladies Who Lunch bringing the house down, while her voice isn't the most beautiful it is still thrillingly volcanic and her acting is right on the money. Anika Noni Rose characterises beautifully and her Another Hundred People is exhilarating. The haunting simplicity of Christina Hendricks' Barcelona comes through too, Martha Plimpton has a beautiful voice and is an even better dancer, Kate Finneran is very funny in Getting Married Today and Chryssie Whitehead does Tick Tock so nimbly and so well that you are tempted to join her. All in all, a wonderful performance that succeeds hugely in every department. 10/10 Bethany Cox