Gielgud Theatre
Shaftesbury Avenue, London

Public Previews: 26 September 2018
Opens: 10 October 2018
Closes: 22 December 2018

Buy tickets: 0844 847 1722 or

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Nearest Tube: Piccadilly Circus

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Theatre seating plan

Show times
Monday at 7.30pm
Tuesday at 7.30pm
Wednesday at 7.30pm
Thursday at 2.30pm and 7.30pm
Friday at 7.30pm
Saturday at 2.30pm and 7.30pm
Sunday no show
Note: Thu 27 Sep at 7.30pm
Note: Fri 28 Sep no shows
Note: Sat 29 Sep at 7.30pm only
Note: Thu 4 Oct at 7.30pm only
Note: Sat 6 Oct at 7.30pm only
Note: Tue 9 Oct no shows
Note: Wed 10 Oct at 7.00pm only
Note: Thu 11 Oct at 7.30pm only

Runs ? hours and ? minutes

Seat prices
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Premium Seats Also Available
(plus booking fees if applicable)


A major revival of the Stephen Sondheim musical Company in London starring Rosalie Craig and Patti LuPone

The legendary Broadway musical as you've never seen it before. With the lead role gender-swapped from 'Bobby' to 'Bobbi'.

It's Bobbi's birthday, and she's got company... Bobbi has always been content living alone. But now, on the eve of her 35th birthday, images of her married friends begin to haunt her. As she looks over her life she begins to wonder whether she's as happy and independent as she thought she was...

Stephen Sondheim and George Furth's bittersweet musical comedy is a wry and witty take on love, sex and relationships in the big city. Famous for the songs The Ladies Who Lunch, Side By Side and Being Alive.

The cast features Rosalie Craig as 'Bobbi' and Patti LuPone as 'Joanne' with Mel Giedroyc as 'Sarah'. Directed by Marianne Elliott.

Rosalie Craig's London theatre credits include the role of the 'Beggar Woman' in Lonny Price's concert revival of Stephen Sondheim's Sweeney Todd at the London Coliseum in 2015; the role of 'Arwen' in Matthew Warchus's production of the musical Lord of the Rings at the Theatre Royal Drury Lane in 2007; and Laurence Boswell's production of Euripides' Hecuba for the RSC at the Noel Coward Theatre in 2005.

Patti LuPone's West End theatre credits include the role of 'Maria Callas' in Leonard Foglia's production of Terrence McNally's Master Class at the Queen's Theatre in 1997; the role of 'Norma Desmond' in the original London production of Sunset Boulevard at the Adelphi Theatre in 1993; and the role of 'Fantine' in the original London production of Les Miserables at the Barbican Theatre and transfer to the Palace Theatre in 1985.

Mel Giedroyc's London theatre credits include the role of co-host 'Boyka' in the comedy-musical spoof Eurobeat - Almost Eurovision at the Novello Theatre in 2008.

Marianne Elliott's London directing credits include Simon Stephens' play Heisenberg: The Uncertainty Principle starring Anne-Marie Duff and Kenneth Cranham at the Wyndham's Theatre in 2017; Simon Stephens' stage adaption of Mark Haddon's The Curious Incident Of The Dog In Night-Time for the National Theatre at the Cottesloe Theatre in 2012 and transfers to the Apollo Theatre in 2013 and the Gielgud Theatre in 2014; Tennessee Williams's Sweet Bird of Youth at the Old Vic Theatre in 2013; William Shakespeare's Much Ado About Nothing for the Royal Shakespeare Company at the Novello Theatre in 2006; and George Bernard Shaw's Saint Joan for the National Theatre at the Olivier Theatre in 2007. Marianne Elliott also co-directed with Tom Morris, Nick Stafford's stage adaptation of Michael Morpurgo's War Horse for the National Theatre at the Olivier Theatre in 2007 and transfer to the New London Theatre in 2009.

Company in London at the Gielgud Theatre public previews from 26 September 2018, opens on 10 October 2018 and closes on 22 December 2018

Original London West End Production 1972

Previewed 13 January 1972, Opened 18 January 1972, Closed 4 November 1972 at Her Majesty's Theatre

The original cast featured Larry Kert as 'Robert', Marti Stevens as 'Sarah', Kenneth Kimmins as 'Harry', Joy Franz as 'Susan', J T Cromwell as 'Peter', Teri Ralston as 'Jenny', Lee Goodman as 'David', Beth Howland as 'Amy', Steve Elmore as 'Paul', Elaine Stritch as 'Joanne', Robert Goss as 'Larry', Annie McGreevey as 'Marta', Donna McKechnie as 'Kathy' and Carol Richards as 'April' with The Vocal Minority: Audrey Duggan, Angela Eaton, Leonie Jessel, Georgina Pierce, Roger de Courcy and Kenneth Garner.

Directed by Harold Prince with musical staging by Michael Bennett, sets by Boris Aronson, costumes by D D Ryan, lighting by Robert Ornbo and sound by David Collison.

1st London West End Revival 1995

Previewed 1 December 1995, Opened 13 December 1995, Closed 2 March 1996 at the Donmar Warehouse
Previewed 7 March 1996, Opened 13 March 1996, Closed 29 June 1996 at the Albery Theatre (now Noel Coward Theatre)

The cast at both the Donmar Warehouse and the Albery Theatre featured Adrian Lester as 'Robert', Rebecca Front as 'Sarah', Clive Rowe as 'Harry', Clare Burt as 'Susan', Gareth Snook as 'Peter', Liza Sadovy as 'Jenny', Teddy Kempner as 'David', Sophie Thompson as 'Amy', Michael Simkins as 'Paul', Sheila Gish as 'Joanne', Paul Bentley as 'Larry', Anna Francolini as 'Marta', Kiran Hocking as 'Kathy' and Hannah James as 'April'.

Directed by Sam Mendes with musical staging by Jonathan Butterell, designs by Mark Thompson, lighting by Paul Pyant and sound by John A Leonard.

This production was recorded in front of a live audience during it's run at the Donmar Warehouse and was broadcast on BBC 2 television on 1 March 1997.

"What distinguishes Sam Mendes's fine revival at the Donmar Warehouse from Harold Prince's original 1970 production is that it brings out even more clearly the heartache and solitude that lies underneath the show's snappy, revue-like structure. Mendes not only pays as much attention to George Furth's book as he does to Sondheim's music and lyrics. He has also come up with a framework that defines the show's meaning. The story deals with a 35-year-old Manhattan bachelor's shifting relationship with five married couples and three girlfriends. But in Mendes's production, birthday boy Robert sits alone in his stylish loft conjuring up his friends as if they were simply figures in his dream... This version digs deeper without destroying the punch and point of the dazzling individual numbers. The highlight here is Sophie Thompson's brilliant rendering of Getting Married Today, in which her headlong pattern reveals the blind panic of a bride on her wedding morning. But Adrian Lester, in a stunning performance, adds a new dimension to Robert by suggesting that the big showbiz number, Side By Side, is the fantasy of a lonely cokehead. Mendes has rethought a classic musical from top to bottom. His version may not have the glitz of Prince's original. But he has sharpened the key point: that Sondheim and Furth are writing, with compassionate wit, about a man trying to escape the promiscuous demands of friendship to discover just who and what he is." The Guardian

"There is something sinister and menacing about Robert's married chums as they enter chanting his name at the start of the surprise party they are throwing for his 35th birthday. Nor are his subsequent encounters very encouraging to a chap with doubts about breakfast-table bliss. Competition, deceit, games-playing, childishness all clearly have their place in modern wedlock. Robert finds himself stopping a half-serious karate bout between Clive Rowe's Harry and Rebecca Front's Sarah. He mawkishly congratulates Clare Burt's Susan and Gareth Snook's Peter on their happiness, only to find they are about to divorce. He watches Sheila Gish's much-married Joannne getting aggressively drunk and Sophie Thompson's Amy deciding she cannot go to the altar with her oppressively affectionate long-time lover, Michael Simkins's Paul. Sondheim's brash, bold harmonies are sometimes allowed to overwhelm his even more brilliant lyrics; but not here. Thompson's panicky paean to the awfulness of being adored sums up the show's tone and thrust... Robert's friends add to the confusion by envying him his bachelor fun, attacking him as immature, praising and rubbishing his girlfriends, and trying to sleep with him. After all that, his last-gasp conversion to marriage is in danger of seeming trite, and did so in 1972. But a splendidly hesitant new song called Marry Me a Little prepares the way, and Lester's robust delivery of the final number takes him home. He wants "someone to need me too much, someone to know me too well, someone to pull me up short, someone to put me through hell". It is the right conclusion to a vastly enjoyable evening." The Times

"Sam Mendes has made [Bobby] the central consciousness, rather than the MC, of the musical by presenting the material - which can seem like a collection of revue sketches - as fantasies inside the Manhattan loft of Bobby's mind. Several times, the cast steal in as a spectral surprise birthday party with a cake whose candles sinisterly refuse to be blown out to allow a wish. Only on the last occasion is this crowd actually present, by which time the birthday boy has done a salutary bunk on them. The first half of Mendes's production ends with Bobby singing 'Marry Me a Little', a song dropped from the original show. Performed with a desperate, self-impatient edge by Lester, the number dramatises the tussle in Bobby between the need to make a whole-hearted commitment and the need for safeguards. But even with this staging post now clearly marked, there is still inadequate justification in dramatic terms for the suddenly affirmative, if ambiguous climax of 'Being Alive', the nearest Sondheim gets to dispensing uplift... The evening is, none the less, packed with delights. The band plays with exhilarating punch and a splendid Sophie Thompson delivers the top-speed, babbling, wedding nerves song like a hapless, hysterically comic version of that jabbering mouth in Beckett's Not I. Unmissable." The Independent

"Director Sam Mendes has found the key to the show's heartbeat. His imaginative restaging unlocks the show's dramatic drive by streamlining the complex interaction so that it appears to take place almost entirely in the sitting room or the imagination of his central character, Bobby. And his terrific award-winning cast do the rest. Adrian Lester's performance as Bobby, everyone's easy-going best friend or possible lover, has deepened and grown since the show first surfaced at the intimate Donmar Warehouse. He fills the Albery Theatre's space with the amused, bemused bewilderment and subtle pain of a man unable to explain the hollowness of his own apparently fun-filled existence... There is the mocking, sophisticated taunts flung at full throttle on the Ladies Who Lunch - a number which Miss Sheila Gish has now made entirely her own. For a brief second in her gutsy anger she lets her guard slip. And in that instant she reveals, as few have ever dared before, the empty void and ensuing panic at the centre of her own being... A quirky, haunting West End debut from Hannah James gives a complete new level of comic poignancy to the lilting one-night-stand duet, Barcelona. And there is a genuine mad pre-nuptial terror in Sophie Thompson's complex counterpoint duet together with Michael Simkins's patient groom in Getting Married Today. I could go on ticking off the multitude of joys to be found at the Albery. But it is best to discover them for yourselves." The Daily Mail

Company in London at the Donmar Warehouse previewed from 1 December 1995, opened on 13 December 1995 and closed on 2 March 1996, transferred to the Albery Theatre (now Noel Coward Theatre) previewed from 7 March 1996, opened on 13 March 1996 and closed on 29 June 1996.