The most recent revival of Company, by Stephen Sondheim, began at the John Gielgud Theatre in London's West End and is currently running at the Bernard E. Jacobs Theatre on Broadway. It has attracted three Tony nods: Neil Austin for Best Lighting Design of a Musical, Ian Dickinson for Best Sound Design of a Musical, and Bunny Christie for Best Scenic Design of a Musical.
Bunny Christie won her fourth Olivier Award for this production in London before bringing the show to New York. She talked to Live Design about the challenge of fitting everything in a small box and taking inspiration from The Marx Brothers.
Live Design: Who were your collaborators?
Bunny Christie: So many collaborators!
- Stephen Sondheim
- Marianne Elliott - Director
- Neil Austin - Lighting Designer
- Liam Steele - Choreographer
- Joel Fram - Musical Director
- Chris Harper - Producer
- Verity Sadler - my UK Design Associate
- Ann Beyersdorfer - my US Set Associate
- Ben Heller and Martijn Appelo - Production
- Show Motion - US Build Shop
- Igor - UK Production
LD: What was your intent with the design, and where did your inspiration come from?
BC: I wanted to make the story contemporary and fun, and for the design to illustrate Bobbie's state of mind. The show is a series of questions and so each scene poses a question - what kind of life do you want? What kind of relationship do you want? I was inspired by the loneliness of the piece and the dislocation we often feel even when surrounded by friends. I was inspired by Alice in Wonderland and by walking round New York City at night. Also, by stories of my single friends in their mid 30s, and by the work of Paolo Scirpa and The Marx Brothers.
LD: What gear to you rely on for your design choices?
BC: An Apple Mac. A Pencil. A scale ruler. A scalpel. Foam board. An clean empty model box. Coffee and books.
LD: What was the biggest challenge?
BC: Getting it all to fit onstage and move from scene to scene. Designing a musical is all about the scene changes. The scenes have to dance to the music and not hold the story up and, most importantly, be fun to watch. How the scenes arrive and leave Bobbie is as much part of the storytelling as the scenes themselves.
Neil Austin the lighting designer would say the biggest challenge was lighting the entire company in a small box! And Ian Dickinson the sound designer would say hearing everyone individually in a small box!
LD: What do you think made this design so successful?
BC: I think the design is another character in Company. It's playful but psychological, and each scene feels vivid. I hope the audience is taken on a ride and surprised by what comes next in the same way that Bobbie is.