"Getting Married Today" is a patter song from the musical Company (1970) with music and lyrics by Stephen Sondheim. It is sung by the manic Amy, as the thought of marriage sends her into a panic on the day of her wedding. It is often incorrectly referred to as "Not Getting Married Today." The song has been described as one of the most difficult songs to perform in musical theatre, with one verse containing 68 words to be sung in roughly 11 seconds; it depends on clear diction, implicit pitch accuracy and breath support alongside imperative comedic timing.
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| - Getting Married Today (song) (en)
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| - "Getting Married Today" is a patter song from the musical Company (1970) with music and lyrics by Stephen Sondheim. It is sung by the manic Amy, as the thought of marriage sends her into a panic on the day of her wedding. It is often incorrectly referred to as "Not Getting Married Today." The song has been described as one of the most difficult songs to perform in musical theatre, with one verse containing 68 words to be sung in roughly 11 seconds; it depends on clear diction, implicit pitch accuracy and breath support alongside imperative comedic timing. (en)
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| - Getting Married Today (en)
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| - Jonathan Bailey (en)
- Beth Howland (en)
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| - Beth Howland as Amy introduced the song on Broadway in 1970, while Jonathan Bailey originated the gender-swapped role of Jamie who first performed the song as a man in the West End revival in 2018. (en)
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| - Jonathan Bailey at Testament of Youth Premiere in October 2014 2.png (en)
- Beth Howland.JPG (en)
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| - "Getting Married Today" is a patter song from the musical Company (1970) with music and lyrics by Stephen Sondheim. It is sung by the manic Amy, as the thought of marriage sends her into a panic on the day of her wedding. It is often incorrectly referred to as "Not Getting Married Today." The song has been described as one of the most difficult songs to perform in musical theatre, with one verse containing 68 words to be sung in roughly 11 seconds; it depends on clear diction, implicit pitch accuracy and breath support alongside imperative comedic timing. The Evening Standard cited Jonathan Bailey in Marianne Elliot's 2018 gender-swapped West End production, and Katie Finneran in a 2011 New York Philharmonic concert version as stand out performances. (en)
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