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Company Tickets

Hong Kong City Hall, Hong Kong, China
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Available Dates: 22 - 24 Oct, 2026 (3 events)
Important Info
Type: Musical
City: Hong Kong, China

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Choose the date to see the peformers
Overview

The Hong Kong Singers are proud to present this landmark production at the iconic City Hall Theatre in Central, 22-26 October 2026.

On his 35th birthday, charming but commitment-phobic Robert (or Bobbie) finds himself surrounded by his five married couple friends and a rotating cast of girlfriends. What begins as a surprise party turns into a sharp, hilarious, and deeply moving exploration of modern relationships, marriage, and the terrifying prospect of being alone.

Through a series of witty vignettes, Company dissects the joys and chaos of coupledom; the compromises, the fights, the love, and the loneliness. With Sondheim’s brilliant, sophisticated score featuring iconic songs like “Being Alive,” “The Ladies Who Lunch,” “Another Hundred People,” and “Getting Married Today,” this groundbreaking concept musical remains as fresh and relevant today as it was in 1970.

COMPANY is the groundbreaking musical from the master Stephen Sondheim (Into the Woods, Sweeney Todd). The show plays with time and space in a revolutionary structure that created the modern concept musical. With a brisk, energetic score and witty dialogue, the show features the award-winning songs "Being Alive" and "(Not) Getting Married Today." Every audience member is sure to see reflections of themselves in (at least!) one of the vivid characters onstage. So come on over; COMPANY’s here!

History
Premiere of this production: 26 April 1970, Alvin Theatre

Company is a 1970 musical comedy with music and lyrics by Stephen Sondheim and book by George Furth. The original production was nominated for a record-setting 14 Tony Awards, and won six.

Synopsis

In the early 1990s, Furth and Sondheim revised the libretto, cutting and altering dialogue that had become dated and rewriting the end to act one. This synopsis is based on the revised libretto.

Act I
Robert is a well-liked single man living in New York City, whose friends are all married or engaged couples: Joanne and Larry, Peter and Susan, Harry and Sarah, David and Jenny, and Paul and Amy. It is Robert's 35th birthday, and the couples have gathered to throw him a surprise party. When Robert fails to blow out any candles on his birthday cake, the couples promise him that his birthday wish will still come true, though he has wished for nothing, since his friends are all that he needs ("Company"). What follows is a series of disconnected vignettes in no apparent chronological order, each featuring Robert during a visit with one of the couples or alone with a girlfriend.

The first of these features Robert visiting Sarah, a foodie supposedly now dieting, and her husband Harry, an alcoholic supposedly now on the wagon. Sarah and Harry taunt each other on their vices, escalating toward karate-like fighting and thrashing that may or may not be playful. The caustic Joanne, the oldest, most cynical, and most-oft divorced of Robert's friends, comments sarcastically to the audience that it is "The Little Things You Do Together" that make a marriage work. Harry then explains, and the other married men concur, that a person is always "Sorry-Grateful" about getting married, and that marriage changes both everything and nothing about the way they live.

Robert is next with Peter and Susan, on their apartment terrace. Peter is Ivy League, and Susan is a Southern belle; the two seem to be a perfect couple, yet they surprise Robert with the news of their upcoming divorce. At the home of the uptight Jenny and chic David, Robert has brought along some marijuana that they share. The couple turns to grilling Robert on why he has not yet gotten married. Robert claims he is not against the notion, but three women he is currently fooling around with—Kathy, Marta, and April—appear and proceed, Andrews Sisters-style, to chastise Robert for his reluctance to being committed ("You Could Drive a Person Crazy"). David tries to tell Robert privately that Jenny did not like the marijuana, after she asks for another joint. "I married a square", he reminds his wife, demanding she bring him food.

All of Robert's male friends are deeply envious about his commitment-free status, and each has found someone they find perfect for Robert ("Have I Got a Girl for You"), but Robert is waiting for someone who merges the best features of all his married female friends ("Someone Is Waiting"). Robert meets his three girlfriends in a small park on three separate occasions, as Marta sings of the city: crowded, dirty, uncaring, yet somehow wonderful ("Another Hundred People"). Robert first gets to know April, a slow-witted airline flight attendant. Robert then spends time with Kathy; they had dated previously and both admit that they had each secretly considered marrying the other. They laugh at this coincidence before Robert suddenly considers the idea seriously; however, Kathy reveals that she is leaving for Cape Cod with a new fiancé. Finally, Robert meets with Marta; she loves New York, and babbles on about topics as diverse as true sophistication, the difference between uptown and downtown New York, and how she can always tell a New Yorker by his or her ass. Robert is left stunned.

The scene turns to the day of Amy and Paul's wedding; they have lived together for years, but are only now getting married. Amy is in an overwhelming state of panic, and as the upbeat Paul harmonizes rapturously, Amy patters an impressive list of reasons why she is not "Getting Married Today". Robert, the best man, and Paul watch as she complains and self-destructs over every petty thing she can possibly think of, and finally, just calls off the wedding explicitly. Paul dejectedly storms out into the rain and Robert tries to comfort Amy, but emotionally winds up offering an impromptu proposal to her himself ("What Did I Just Do?"). His words jolt Amy back into reality, and with the parting words "you need to marry some body, not just some body", she runs out after Paul, at last ready to marry him. The setting returns to the scene of the birthday party, where Robert is given his cake and tries to blow out the candles again. He wishes for something this time, someone to "Marry Me a Little".

Act II
The birthday party scene is reset, and Robert goes to blow out his candles. This time, he gets them about half out, and the rest have to help him. The couples share their views on Robert with each other, comments which range from complimentary to unflattering, as Robert reflects on being the fifth wheel ("Side By Side By Side"), soon followed by the up-tempo paean to Robert's role as the perfect friend ("What Would We Do Without You?"). In a dance break in the middle of the number, or as in the case of the 2006 Broadway revival in a musical solo section, each man, in turn, does a dance step, or as in the revival, plays a solo on his instrument, answered by his wife. Then, Robert likewise does a step, or as in the case of the 2006 Broadway revival, plays two bad notes on a kazoo, but he has no partner to answer it.

Robert brings April to his apartment for a nightcap, after a date. She marvels ad nauseam at how homey his place is, and he casually leads her to the bed, sitting next to her on it and working on getting her into it. She earnestly tells him of an experience from her past, involving the death of a butterfly; he counters with a bizarre remembrance of his own, obviously fabricated, and designed to put her in the mood to succumb to seduction. Meanwhile, the married women worry about Robert's single and lonesome status (as they see it), and particularly about the unsuitable qualities they find in the women he does date, asking, "Isn't she a little bit, well--Dumb? Tacky? Vulgar? Old? Tall? Aggressive? Where is she from?...She's tall enough to be your mother...." ("Poor Baby"). When the inevitable sex happens, we hear Robert and April's thoughts, interspersed with music that expresses and mirrors their increasing excitement. This music often, as in the original Broadway production, accompanies a solo dance by Kathy, conveying the emotions and dynamics of making love; it has also been staged as a pas de deux, a group number, or been cut altogether, in various productions ("Tick-Tock"). The next morning, April rises early, to report for duty aboard a flight to "Barcelona". Robert tries to get her to stay, at first wholeheartedly, parrying her apologetic protestations that she cannot, with playful begging and insistence. As April continues to reluctantly resist his entreaties, and sleepiness retakes him, Bobby seems to lose conviction, agreeing that she should go; that change apparently gets to her, and she joyfully declares that she will stay, after all. This takes Robert by surprise, and his astonished, plaintive "Oh, God!" is suffused not with triumph, nor even ambivalence, but with evident fear and regret.

In the following scene, Robert takes Marta to visit Peter and Susan, on their terrace. Apparently, Peter flew to Mexico to get the divorce, but he phoned Susan and she joined him there for a vacation. Bizarrely, they are still living together, claiming they have too many responsibilities to actually leave each other's lives, and that their relationship has actually been strengthened by the divorce. Susan takes Marta inside to make lunch, and Peter asks Robert if he has ever had a homosexual experience. They both admit they have, and Peter hints at the possibility that Robert and he could have such an encounter, but Robert uncomfortably laughs the conversation off as a joke.

Joanne and Larry take Robert out to a nightclub, where Larry dances, and Joanne and Robert sit watching, getting thoroughly drunk. She blames Robert for always being an outsider, only watching life rather than living it, and also persists in berating Larry. She raises her glass in a mocking toast to "The Ladies Who Lunch", passing judgment on various types of rich, middle-aged women wasting their lives away with mostly meaningless activities. Her harshest criticism is reserved for those, like herself, who "just watch", and she concludes with the observation that all these ladies are bound together by a terror that comes with the knowledge that "everybody dies". Larry returns from the dance floor, taking Joanne's drunken rant without complaint and explains to Robert that he still loves her dearly. When Larry leaves to pay the check, Joanne bluntly invites Robert to begin an affair with her, assuring him that she will "take care of him". The reply this elicits from him, "But who will I take care of?" seems to surprise him, and to strike Joanne as a profound breakthrough on his part, "...a door opening that's been stuck for a long time". Robert insists it is not, that he has studied and been open to marriages and commitment, but questions "What do you get?" Upon Larry's return, Robert asks again, angrily, "What do you get?" Joanne declares, with some satisfaction, "I just did someone a big favor". Larry and she go home, leaving Robert lost in frustrated contemplation.

The couples' recurrent musical motif begins yet again, with all of them focused anew on their "Bobby Bubbi", "Robert darling", or "Bobby baby", and again inviting him to "Drop by anytime...". Rather than the cheery, indulgent tone he had responded with in earlier scenes, Robert suddenly, desperately, shouts "STOP!" In their stunned silence, he challenges them with quiet intensity: "What do you get?" The music to "Being Alive" begins, and he sings, openly enumerating the many traps and dangers he perceives in marriage; speaking their disagreements, his friends counter his ideas, one by one, encouraging him to dare to try for love and commitment. Finally, Bobby's words change, expressing a desire, increasing in urgency, for loving intimacy, even with all its problems, and the wish to meet someone with whom to face the challenge of "Being Alive". The opening party resets a final time; Robert's friends have waited two hours, with still no sign of him. At last, they all prepare to leave, expressing a new hopefulness about their absent friend's chances for loving fulfillment, and wishing him a happy birthday, wherever he may be, as they leave. Robert then appears alone, smiles, and blows out his candles.

Venue Info

Hong Kong City Hall - Hong Kong
Location   Central, Edinburgh Place, 5

Opened in 1962, the Hong Kong City Hall is the first multi-purpose cultural complex ever built for the community of Hong Kong. Occupying an area of 11 000 square metres on the reclaimed seafront of Edinburgh Place, Central, the City Hall was designated as a Grade 1 historic building in 2009. Its major facilities, including a Concert Hall renowned for its outstanding acoustics, a Theatre well-received by professional theatre groups, as well as an Exhibition Hall capturing view of the Victoria Harbour, are housed in the Low Block.

Other minor facilities, such as the Recital Hall, the Exhibition Gallery and the Committee Rooms, which are located in the High Block, are suitable for holding different kinds of events on a small scale.

The old City Hall, built by public contributions in 1869, was a two - storey building with European style colonnades and archways. The building was totally demolished in 1947. During the post-war reconstruction, the idea of rebuilding the City Hall was nurtured due to an imminent need for the revival of culture. The building complex subsequently erected at the present site based on the original design by Professor Gordon Brown, the first Head of Department of Architecture of Hong Kong University, together with his team, was completed by British architects Ronald Phillips and Alan Fitch at the cost of HK$20 million. Its opening ceremony was officiated by Sir Robert Black, the then Governor of Hong Kong, on 2 March 1962. The complex comprises two buildings (High Block and Low Block) and a memorial garden. Its Modernist style with clean lines is a bold deviation from the magnificent Renaissance style of the old City Hall. It has not only greatly enhanced the status of the architectural profession in Hong Kong, but has also taken on the role of popularising arts activities in Hong Kong, promoting eastern and western cultures, as well as expanding the parameters of community activities.

Reputed as one of the most prominent local arts and cultural venues, the Hong Kong City Hall embodies the history of important cultural events and is synonymous with the local cultural development.  Milestone events, such as the early Festival of Hong Kong, the first Hong Kong Arts Festival (1973), the first Festival of Asian Arts (1976), the first Hong Kong International Film Festival (1977) and the first International Arts Carnival (1982), all had their inaugurations at the Hong Kong City Hall.  Its significant role in promoting arts and cultural exchanges is indeed the pride of Hong Kong people.

Over the past five decades, the Hong Kong City Hall has played host to thousands of outstanding local and overseas artists/arts groups, including world-renowned cellist Yo-Yo Ma, the late violinist Isaac Stern, the New York Philharmonic Orchestra, the Vienna Boys’ Choir, the Stuttgart Ballet, the National Theatre of China, Xiang Opera Theatre of Hunan,  Fu Ts’ong, choral master Dame Kiri Te Kanawa and Barbara Fei, Chor Fung Ming Cantonese Opera Troupe and many local professional artists/art groups.  The rich array of programmes staged here has never failed to enthral the audience. Apart from providing opportunities for the audiences to appreciate performances of various art forms, the Hong Kong City Hall has also contributed greatly to the nurturing of local artistic and cultural talent through the provision of rental subsidy and use of professional venues and auxiliary facilities.

The City Hall High Block also housed the first public library and art museum in Hong Kong. Being the first public library in Hong Kong, the City Hall Public Library was officially opened on 5 March 1962. It is also one of the first six public libraries which apply the Radio Frequency Identification (RFID) technology to provide readers with convenient and efficient smart identification self-charging and self-returning services. Its facilities and services have expanded over the past five decades. Various computer facilities are provided to facilitate the search, reservation and renewal of library materials, as well as the use of electronic resources, databases and digitalised audio-visual materials. Its collection increases from an initial stock of 20 000 items to over 537 000 items, and special reference libraries and thematic collections, such as the Business and Industry Library, the Creativity and Innovation Resource Centre, and the Basic Law Library have been set up. In mid-2014, the Cultural and Historical Resources Corner of Central and Western District was also established to provide information on the culture, history and community development of the District. 

The inauguration of the Hong Kong City Hall also gave birth to modern museum services in Hong Kong. City Museum and Art Gallery, the predecessor of the Hong Kong Museum of History and the Hong Kong Museum of Art, was located on the top floors of the High Block. With an increasing number of exhibition programmes and museum collections after years of acquisition and collection efforts, City Museum and Art Gallery was officially split into the two said museums and relocated to Tsim Sha Tsui for further enhanced services.    

Over the past decades, the Hong Kong City Hall has remained an important cultural hub for the community despite the opening of new civic centres.  Like any fine musical instrument which needs to be maintained and fine-tuned from time to time for the best performance, the City Hall underwent renovations in 1993 and 2010 respectively to keep abreast of social changes and the development of arts and culture in Hong Kong.  While the original architectural style of the City Hall has been retained, modern elements were added to the outlook of the venue.

For the people of Hong Kong, the significance of the Hong Kong City Hall goes far beyond the boundaries of arts and culture.  This 1960s building remains a landmark of the Central District.  While the shrine at the Memorial Garden houses records of wartime sufferings in the territory, the Marriage Registry, which was opened in the same year as the City Hall, bears witness to an important milestone for countless couples who have moved on to a new stage in their life.

Over the past 50 years, the Hong Kong City Hall has stood by the people of Hong Kong through thick and thin.  It not only offers a stage for artists to display their talent, but also forms part of our collective memories.  In the years to come, it will continue to serve as a source of inspiration for artists and contribute to the continual and multi-faceted development of the arts in Hong Kong.

Important Info
Type: Musical
City: Hong Kong, China

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

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