his own music as well. # for a small fee in america! most of the shows that followed were hits. and then, in 1970, he came up with a new idea a musical that didn t follow an obvious plot. # phone rings, door chimes. # in comes company! company was a series of vignettes featuring a dozen central characters. no two sondheim musicals were the same. i don t want to get bored writing and, you know, it s when you hit a chord that you ve hit before, or a technique of using a song that you ve done before or when i do, i get very nervous and i think i ve written that. i mustn t do that again somebody will catch me up on it, so to speak. it s as if somebody s saying, wait a minute you did that in that show! into the woods was based on fairy stories like jack and the beanstalk. sondheim s music was rhythmically complicated and harmonically sophisticated. # we ve no time to sit and dither. # while her withers wither with her. # and no one keeps a cow for a friend! # artists are biza
a musical that didn t follow an obvious plot. company was a series of vignettes featuring a dozen central characters. no two sondheim musicals were the same. i don t want to get bored writing them, you know? when you hit a chord that you ve hit before, or a technique you ve used before when i do, i get very nervous. and i think i ve written that i mustn t do that, somebody will catch me up on it, so to speak, it s as if somebody s saying, wait a minute, you did that in that show. into the woods was based on fairy stories like jack and the bea nstalk . sondheim s music was rhythmically complicated and harmonically sophisticated. # we ve no time to sit and dither while her whithers wither, wither. # and no one keeps a cow for a friend. # artists are bizarre # fixed, cold # that s you, georges,
most of the shows that followed were hits. and then in 1970 he came up with a new idea a musical that didn t follow an obvious plot. # phone rings, door chimes, in comes company. company was a series of vignettes featuring a dozen central characters. no two sondheim musicals were the same. i don t want to get bored writing. and you know, it s when you hit a chord that you ve hit before or a technique of using a song that you ve done before or when i do, i get very nervous. and i think i ve written that, i mustn t do that again. somebody will catch me up on it, so to speak. it s as if somebody s saying, wait a minute, you did that in that show. into the woods was based on fairy stories like jack and the beanstalk. sondheim s music was rhythmically complicated and harmonically sophisticated. # we ve no time to sit and dither. # while her withers wither with her. # and no one keeps a cow for a friend.
and then in 1970 he came up with a new idea a musical that didn t follow an obvious plot. # phone rings, door chimes, in comes company. company was a series of vignettes featuring a dozen central characters. no two sondheim musicals were the same. i don t want to get bored writing. and you know, it s when you hit a chord that you ve hit before or a technique of using a song that you ve done before or when i do, i get very nervous. and i think i ve written that, i mustn t do that again. somebody will catch me up on it, so to speak. it s as if somebody s saying, wait a minute, you did that in that show. into the woods was based on fairy stories like jack and the beanstalk. sondheim s music was rhythmically complicated and harmonically sophisticated. # we ve no time to sit and dither. # while her withers wither with her. # and no one keeps a cow for a friend. that s one of my favourite things about a sondheim musical,
as a young man, he learned his trade from oscar hammerstein the lyricist who wrote shows like oklahoma and the sound of music. sondheim, too, started by doing the words, notably for leonard bernstein s music in west side story. # i like to be in america! # ok by me in america! soon he was writing his own music as well. # for a small fee in america! most of the shows that followed were hits. and then, in 1970, he came up with a new idea a musical that didn t follow an obvious plot. # phone rings, door chimes. # in comes company! company was a series of vignettes featuring a dozen central characters. no two sondheim musicals were the same. i don t want to get bored writing and, you know, it s when you hit a chord that you ve hit before, or a technique of using a song that you ve done before or when i do, i get very nervous and i think i ve written that. i mustn t do that again somebody will catch me up on it, so to speak. it s as if somebody s