On Nov. 29, 2006, the revival of the Stephen Sondheim/George Furth musical Company opened on Broadway at the Ethel Barrymore Theatre. Directed by Tony award-winner John Doyle, the production is performed by actor/musicians with no separate orchestra.
After seeing this exhilarating production recently, I had the opportunity to sit down with several of the performers involved—Keith Buterbaugh (Harry), Robert Cunningham (Paul), Kristen Huffman (Sarah), Amy Justman (Susan), and Leenya Rideout (Jenny)—five multitalented musician/actors who play in this unique revival of the 1970 Broadway production.
These performers—all classically trained singers and instrumentalists—not only sing and act, but also play a variety of instruments on stage at the same time (and are as nice as they are talented). All began training as music majors at a variety of colleges and conservatories. All have sung opera or classical repertoire and musical theatre.
Has being trained as a classical musician helped you to get to Broadway?
Leenya: Yes, being classically trained as a singer has provided me with a good foundation for singing in other styles. It is like ballet, which is a good base for other types of dance. [Others nod their heads in agreement.] I, however, tried to take as many acting and dance classes as electives [as I could] while at the University of Colorado. I knew that it would be important if I wanted to do musical theatre.
Kristin: Being a classically trained musician was also a plus at rehearsals. We could all speak in musical terms and everyone would understand. This doesn’t usually happen in other musical theatre rehearsals where the actors have not had the same training. Also, because we can all read music, the rehearsals moved along faster. We can all sight-read, so parts did not have to be played over and over again for people to learn them.
Amy: It helped and hindered. At Yale my music education was more liberal, so it helped, but as a voice major at the Manhattan School of Music there wasn’t enough time to take acting classes.
Robert: My music degree [also from the Manhattan School of Music] concentrated on singing in a Bel Canto style and on technique. This was important for singing opera and classical music, but not Broadway. I really didn’t expect to be doing Broadway, but I’m grateful to John Doyle for letting me do it.
Keith: Vocally it deterred me from getting to Broadway because it concentrated more on pedagogy. My [undergraduate] degree is in music education with a concentration in trumpet and my M.A. from the University of Miami had a concentration in voice. [If I could do it again] I would still keep my classical training, but concentrate more on stylistic disciplines.
All five agreed that their classical training was good for them in many ways, but to sing musical theatre they had to work on mastering the style. Musical theatre generally uses only part of the voice, and acting is as important or more important than vocal technique. Broadway directors do not want to hear you singing in an “operatic” style unless the role or song calls for it. This was the case for Amy Justman in her solo part of the ensemble “Getting Married Today.”
You [Amy] sing the solo in “Getting Married Today” in a more classical or operatic style than other soloists use in the show. Are you more comfortable singing in this style?
Amy: I don’t often get to sing with a more legitimate sound, because I am usually cast in secondary roles and not as the leading lady. I am short and not traditionally attractive [she is actually very cute]. I like singing with a more legitimate sound because it is easier for me, but I have also done roles, such as my part in “The Screams of Kitty Genovese,” where I used a belt/mix.
Do the rest of you miss not being able to open up your voices in a more operatic style?
Keith: I do miss it, but not in this show. To sing opera again would also take some time. I would need to retrain the muscles.
Robert: I really miss singing opera, but doing this show was like lifting a big weight off my shoulders. Being a tenor, you’re always responsible for barking out high notes. Here the acting is more important. John [Doyle] said, “Just speak the words.” This was very different for me, since I have done more opera than musical theatre.
Leenya and Kristin also agreed that they sometimes miss opening up their voices, but Kristin added that she was also glad not to have to always sing in the operatic “big voice.”
The five also expressed gratitude to Doyle for giving them the chance to be cast in Company and use their classical training as musicians in the best way possible. Doyle’s work with actor/musicians has been extensive and he has directed musical theatre and opera productions, including productions of Candide for a UK tour, Carmen at the Royal Opera House, Into the Woods at York Theatre Royal, and Fiddler on the Roof at Watermill Theatre. Thanks to these experiences—and his Tony Award-winning direction of Sweeney Todd, which uses the same concept—Doyle knew exactly how to tell the five to handle singing, acting, and playing their instruments on stage.
Did you find it difficult to sing, act, and play instruments onstage, sometimes at the same time?
Leenya (violin, guitar, double bass): I played with a lot of bands—country, Celtic, and others—where I had to sing too, so it wasn’t that unusual for me.
Amy (piano, keyboards): I used to sing and play the piano all the time, but having to do it all memorized was more difficult. Using Alexander Technique helped me, as well as John telling me I could do it.
Keith (trumpet, trombone): Switching from trumpet or trombone to singing is difficult because you use different muscles in the throat . . . but you do get used to it. [Robert—who also plays trumpet—smiles and nods his head in agreement.]
All: At first the rehearsals were a pretty big mess [laughter from all], but with lots of practice and John’s direction to make the instruments part of your acting, it all came together.
Where do you want to see your careers go from here?
Keith: I am always afraid of not getting another job, but so far [the jobs] have always found me.
Kristen: I would like to do more backstage stuff and to possibly produce or write.
Amy: Being on Broadway was my ultimate goal, so I feel like I can relax a little now and let my career go in other directions, such as television or commercials.
As for advice for other singers who want to cross over, the singers agree: If you are or were in a music program, take as many acting classes as you can, either as electives or on your own. Build a good foundation by studying technique, but work on versatility—study the different styles.
