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Starship Troupers #1
A Company of Stars
Book by Stasheff, Christopher
312 pages, Paperback
First published January 1, 1991
6 people are currently reading
154 people want to read
About the author
Christopher Stasheff
105 books302 followersThe late Christopher Stasheff was an American science fiction and fantasy author. When teaching proved too real, he gave it up in favor of writing full-time. Stasheff was noted for his blending of science fiction and fantasy, as seen in his Warlock series. He spent his early childhood in Mount Vernon, New York, but spent the rest of his formative years in Ann Arbor, Michigan. Stasheff taught at the University of Eastern New Mexico in Portales, before retiring to Champaign, Illinois, in 2009. He had a wife and four children.
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Displaying 1 - 17 of 17 reviews
July 27, 2025
Erudite. Assumes the reader will be (or become) familiar with major plays and playwrights. Also drops in french without offering translations under the same reasoning. The characters are everything in the book. They are well-developed over the course of the novel. The premise of an interfering political party wanting to gin up crises to build up support is fine, but not what brings readers back to this series. 4/5
December 22, 2012
This is a reread of an old classic for me, and I'll be the first to admit that Stasheff has his flaws ... but most of them are flaws that happen to appeal to my sensibilities, and the high points in his books are so much fun that I really don't care.
Of course, being an older science fiction novel, there are a few elements that haven't worn well - the hard copies of the news "faxes" which the characters read; the size of the memory banks of the scenery projection units (measured in gigabytes. No, really) - but beyond that, the setting feels very authentic. The technology has interesting flavor while remaining firmly in the backdrop (where it belongs in such a story), and the politics, history and social circumstances are based in universal impulses.
A Company of Stars is the tale of a pair of aging actors who decide to put together a theatrical company to tour the colony planets, leaving the bosom of their beloved New York. Providing the crucial outsider perspective is Ramou, a young, half-trained engineer on the run from a romantic entanglement. It's a great way to fill in the reader about aspects of the setting that would otherwise amount to the characters telling themselves what they already know.
The characters are archetypal, just like the roles they play, and their interactions are polished and larger than life ... dramatic dialogue in a wholly appropriate venue. Part of the fun is the anticipation of their interactions.
The plot builds naturally from a simple idea ... and even though much of the action, on the face of it, is mundane - casting calls, buying a stage projector - it is conveyed with such enthusiasm that a reader is blissfully carried along until the real conflict strikes ... and it stems from what initially seems like "mere" worldbuilding. One of Stasheff's gifts is the ability to "geek out" about something technical, whether it be the process of auditions or the operation of imaginary technology, and make it interesting to the reader.
On the other hand, one of the most consistent flaw in Stasheff's works is that the book and his characters all wear a passionate message on their sleeves. In the case of A Company of Stars, that message is about absolute freedom of speech. It does, in my opinion, reach the level of preaching, and there's no attempt to give the opposing viewpoint any validity - a straw-man argument. Even though I find nothing to disagree with in the message here, I do find the presentation of the message heavy-handed.
... and as stated above, I just don't care. This book is a blast, and even though it's clearly an episode one, it's satisfying and fun.
Of course, being an older science fiction novel, there are a few elements that haven't worn well - the hard copies of the news "faxes" which the characters read; the size of the memory banks of the scenery projection units (measured in gigabytes. No, really) - but beyond that, the setting feels very authentic. The technology has interesting flavor while remaining firmly in the backdrop (where it belongs in such a story), and the politics, history and social circumstances are based in universal impulses.
A Company of Stars is the tale of a pair of aging actors who decide to put together a theatrical company to tour the colony planets, leaving the bosom of their beloved New York. Providing the crucial outsider perspective is Ramou, a young, half-trained engineer on the run from a romantic entanglement. It's a great way to fill in the reader about aspects of the setting that would otherwise amount to the characters telling themselves what they already know.
The characters are archetypal, just like the roles they play, and their interactions are polished and larger than life ... dramatic dialogue in a wholly appropriate venue. Part of the fun is the anticipation of their interactions.
The plot builds naturally from a simple idea ... and even though much of the action, on the face of it, is mundane - casting calls, buying a stage projector - it is conveyed with such enthusiasm that a reader is blissfully carried along until the real conflict strikes ... and it stems from what initially seems like "mere" worldbuilding. One of Stasheff's gifts is the ability to "geek out" about something technical, whether it be the process of auditions or the operation of imaginary technology, and make it interesting to the reader.
On the other hand, one of the most consistent flaw in Stasheff's works is that the book and his characters all wear a passionate message on their sleeves. In the case of A Company of Stars, that message is about absolute freedom of speech. It does, in my opinion, reach the level of preaching, and there's no attempt to give the opposing viewpoint any validity - a straw-man argument. Even though I find nothing to disagree with in the message here, I do find the presentation of the message heavy-handed.
... and as stated above, I just don't care. This book is a blast, and even though it's clearly an episode one, it's satisfying and fun.
February 16, 2010
This is a setup book for the others in the Starship Troupers series. You follow two main characters: The director of a troup of actors, who is setting up a group of actors to tour the stars; and a young man who's found himself fleeing from a bad situation and finds a job he would never had applied for.
This takes place during the 'creation' time of Christopher Stasheff's universe when the LORDS party is starting to gain power. There are hints in the universe of this series will merge with the storyline of the Warlock Series.
---
on a personal note: I was learning tech from going to science fiction conventions at the time and found myself liking the behind the scenes items as well as the interplay of the actors. In this book, the actors are just showing themselves and like an audition, there is very little to see of them but promise.
This takes place during the 'creation' time of Christopher Stasheff's universe when the LORDS party is starting to gain power. There are hints in the universe of this series will merge with the storyline of the Warlock Series.
---
on a personal note: I was learning tech from going to science fiction conventions at the time and found myself liking the behind the scenes items as well as the interplay of the actors. In this book, the actors are just showing themselves and like an audition, there is very little to see of them but promise.
November 24, 2016
it took way too long, yes, I know this.
so, beyond the grammar errors, the literary structural fails, and the confusing, inconsistent POV, the rising action drooled. halfway through the book I had found I asked myself too often: why do I continue? alas, I kept on reading, obviously distracted millions of times with other stuff: other prose, graphic novels, work, drawing, my own writing, sleep, breathing, eating, boredom, procrastination ... the list could go on I assure you
please note - when I mention "literary structural fails" I refer to 1 thing in particular (which annoyed the mess out of me): an author should not have more than 1 character speaking within the same paragraph; it gets confusing
example you ask? why, of course I shall oblige:
"That woman is an irritable type of female," Barry suggested. "But of course," Horace began. "She is an actress of profound review." I looked over to Barry as he grunted something just beyond audible interpretation. "Maybe, that is just women." I offered. Barry laughed "Good observation young lad."
something like that occurred in A SINGLE PARAGRAPH. this was a simple example and was easy to decipher who spoke, but often enough it was not simple at all. a reader must pay very close attention to a character's mannerisms and verbiage to know when they are speaking
(the preceding is not an actual quote from the novel, just a simple-enough example for the point to be grasped)
however, the last hundred pages (or less) I found myself finally enjoying this snipit-of-a-tale in respect to Ramou and Horace; the falling action and last page was more like reaching the climax of an epic journey ... ending of a cliffhanger anyone!?
the multitude of characters & their interactions picked up on the decline toward finality, and made the book worth keep going. I could have given up on it many times, but I am actually looking forward to see how the budding relationships expand with book 2
if the other 2 in the series fixes the inconsistent POV and addresses the literary structural fails, I will indeed keep them all. if they continue this dismal problematic flow, all shall be donated to the mobile library of Wisconsin
so, beyond the grammar errors, the literary structural fails, and the confusing, inconsistent POV, the rising action drooled. halfway through the book I had found I asked myself too often: why do I continue? alas, I kept on reading, obviously distracted millions of times with other stuff: other prose, graphic novels, work, drawing, my own writing, sleep, breathing, eating, boredom, procrastination ... the list could go on I assure you
please note - when I mention "literary structural fails" I refer to 1 thing in particular (which annoyed the mess out of me): an author should not have more than 1 character speaking within the same paragraph; it gets confusing
example you ask? why, of course I shall oblige:
"That woman is an irritable type of female," Barry suggested. "But of course," Horace began. "She is an actress of profound review." I looked over to Barry as he grunted something just beyond audible interpretation. "Maybe, that is just women." I offered. Barry laughed "Good observation young lad."
something like that occurred in A SINGLE PARAGRAPH. this was a simple example and was easy to decipher who spoke, but often enough it was not simple at all. a reader must pay very close attention to a character's mannerisms and verbiage to know when they are speaking
(the preceding is not an actual quote from the novel, just a simple-enough example for the point to be grasped)
however, the last hundred pages (or less) I found myself finally enjoying this snipit-of-a-tale in respect to Ramou and Horace; the falling action and last page was more like reaching the climax of an epic journey ... ending of a cliffhanger anyone!?
the multitude of characters & their interactions picked up on the decline toward finality, and made the book worth keep going. I could have given up on it many times, but I am actually looking forward to see how the budding relationships expand with book 2
if the other 2 in the series fixes the inconsistent POV and addresses the literary structural fails, I will indeed keep them all. if they continue this dismal problematic flow, all shall be donated to the mobile library of Wisconsin
October 26, 2023
My rating is affected by the limited extent of science fiction content, those looking more for theater-related themes may rate it higher.
The story centers / is alternately narrated by an aging actor, Horus, and a young man, Ramu, who fled / left college when a girlfriend falsely claims he made her pregnant (and her wealthy father will demand things.) Horus' friend, Barry, has come up with the idea of a traveling theater company that will tour established human colonies in other star system - and convinces his financier brother to help get it started. The story goes step by step in the various aspects that need to be done on Earth. Meanwhile, the Lord Party is hiding it's true agenda of maintaining the dominance of the rich on Earth by making as much noise as they can in a "culture war." The culture war ends up focused on live theater in general and Barry's company in particular.
The book goes into the personalities and issues of actors, and their interactions with other actors and with non-actors. It goes into the attachment live actors have for New York City and how this affects what kinds of actors they can get. It goes into the preparations for the things an (interstellar) traveling theater company would need (especially one on a limited budget.) It follows how Ramu gets a non-acting job and his interactions. It follows the main politician in the culture war, his constant presence in the media, and how the media allows him to do it. Etc.
This is the first book in a series, and this volume only follows the story to the point when the theater company's spaceship launches from Earth. In that sense, the science fiction feeling was limited for me (although there are reference to some future elements on Earth.)
The culture war thread was interesting to me. The book was published in 1991, and I don't think of these kinds of intense culture wars being so common then as they are now. Yes, back in the Reagan era there were the conservative memes of "welfare queens" and anti-gay themes. Maybe, I'm just forgetting some other things, but this seemed prophetic to me.
The story centers / is alternately narrated by an aging actor, Horus, and a young man, Ramu, who fled / left college when a girlfriend falsely claims he made her pregnant (and her wealthy father will demand things.) Horus' friend, Barry, has come up with the idea of a traveling theater company that will tour established human colonies in other star system - and convinces his financier brother to help get it started. The story goes step by step in the various aspects that need to be done on Earth. Meanwhile, the Lord Party is hiding it's true agenda of maintaining the dominance of the rich on Earth by making as much noise as they can in a "culture war." The culture war ends up focused on live theater in general and Barry's company in particular.
The book goes into the personalities and issues of actors, and their interactions with other actors and with non-actors. It goes into the attachment live actors have for New York City and how this affects what kinds of actors they can get. It goes into the preparations for the things an (interstellar) traveling theater company would need (especially one on a limited budget.) It follows how Ramu gets a non-acting job and his interactions. It follows the main politician in the culture war, his constant presence in the media, and how the media allows him to do it. Etc.
This is the first book in a series, and this volume only follows the story to the point when the theater company's spaceship launches from Earth. In that sense, the science fiction feeling was limited for me (although there are reference to some future elements on Earth.)
The culture war thread was interesting to me. The book was published in 1991, and I don't think of these kinds of intense culture wars being so common then as they are now. Yes, back in the Reagan era there were the conservative memes of "welfare queens" and anti-gay themes. Maybe, I'm just forgetting some other things, but this seemed prophetic to me.
May 9, 2025
The opening pitch has a woman claim she is pregnant to trap a POV character in marriage. Huh? For a hook, that is quite a throwback for a book published in 1991, (more suited to 1921). I didn't finish chapter 3 and lost interest.
This story unfolds slowly and fronts with suburban problems. A pickpocket? Capital raising? A character is mugged. Mugged?
Also, alternating different POVs without a tight narrative makes this a perplexing read when better paced works are available.
Another second-hand bookshop purchase.
This story unfolds slowly and fronts with suburban problems. A pickpocket? Capital raising? A character is mugged. Mugged?
Also, alternating different POVs without a tight narrative makes this a perplexing read when better paced works are available.
Another second-hand bookshop purchase.
April 15, 2020
It's probably better than I thought back in 1995 when I tried to read it. A group of actors travels to Earth's outer colonies to present live plays. I couldn't make it past page 117; the concept here isn't bad, but with nothing happening and characterizations that didn't grab me, I couldn't finish it. Given Stasheff's stature, however, this one could be on the reader...me.
November 7, 2025
this was a great start to a fun series
I really enjoyed re-reading this one. I hope Stasheff’s heirs plan to put the rest of the series into e-books. As I recall there were three more books.
I really enjoyed re-reading this one. I hope Stasheff’s heirs plan to put the rest of the series into e-books. As I recall there were three more books.
May 10, 2017
I'm a fan of Stasheff's Gramarye series so was delighted to find a completely different series. Very much enjoyed the first book!
June 2, 2017
It covers until they leave the planet. It is still a good book but it did get tedious in a few places. I am looking forward to reading the rest of the series.
August 21, 2018
Entertaining, but it took forever to get off the ground.
July 30, 2021
Christopher Stasheff is still one of the best authors for bringing SCI-FI to life so that you are there in the world with the characters, not just rooting for them but living the dream alongside them. If you are expecting anything like the Wizard books, you will not find any similarity other than the awesome world-building power he is known for.
January 20, 2014
In the 26th century, two identical-sounding narrators describe the formation of the Star Company troupe, actors heading for the colony planets. Ramou Lazarian 19ish, martial arts expert, loves "brawls .. no hard feelings" p 240, rescues actor impresario Horace Burbage 60ish. Horace mentors Ramou (from French Scaramouche), runaway second-year electrical engineering student. Introducing and establishing cast, interspersed with fights for fun, sets the series tone. Elector Rudders, bad guy only seen on pub video screens, calls for censorship, orders them stopped.
Valdor Tallendar 50ish, generous magnate, approves brother Barry's (Horace's pal) sound financial plan, funds the trip for veterans: alcoholic Ogden 80s, costumer Grudy Drury, professorial diplomatic Charles Publican, Valdor's ex-mistress snarky Marnie 50s, and younger typecast villain, nice Winston Carlton 30s; twentyish: greedy Larry Rash, comic Marty, ambitious Lacey Lark, sweet Susanne Souci, more generous in nature and physical endowments. Brilliant stage designer Merlo Hertz finds Captain Gantry McLeod (actually he trails them after pub brawl) and a rocket ship.
Even minor role Chandler spaceship vendor, is personalized, ignorant heir to yard but fair bargainer. Some history detail and invented technology bores, some intrigues. Philosophical exposition slows, drags. Little happens except feeling of missing a lesson, but people seem worth caring about, hiding secrets.
Ramou's honor to opponents, fighting a masculine method to friendship, is clear from the start, yet puzzles me. His sensei is often referenced. Why does he only return stolen ten to Horace's attackers who tried to kill them both, not take the rest for his empty pickpocketed own wallet p 40? Stage fright is unexpected in such confident courage, so he was pegged for apprentice actor, double surprise that he is appointed technical assistant and requisite third for crew.
Despite many skipped pages - boring free speech rants, stereotyped cast, confusing same voice for narrators widely separated by age, temperament, education, experience - questions tantalize. Who follows them, always recognizable by his same gray outfit? Is he from Ramou's false paternity accuser, government Rudders, or maybe pursuing quiet Charlie? Elegant streamlined old-luxury Cotton Blossom heads out with me onboard for sequels.
Valdor Tallendar 50ish, generous magnate, approves brother Barry's (Horace's pal) sound financial plan, funds the trip for veterans: alcoholic Ogden 80s, costumer Grudy Drury, professorial diplomatic Charles Publican, Valdor's ex-mistress snarky Marnie 50s, and younger typecast villain, nice Winston Carlton 30s; twentyish: greedy Larry Rash, comic Marty, ambitious Lacey Lark, sweet Susanne Souci, more generous in nature and physical endowments. Brilliant stage designer Merlo Hertz finds Captain Gantry McLeod (actually he trails them after pub brawl) and a rocket ship.
Even minor role Chandler spaceship vendor, is personalized, ignorant heir to yard but fair bargainer. Some history detail and invented technology bores, some intrigues. Philosophical exposition slows, drags. Little happens except feeling of missing a lesson, but people seem worth caring about, hiding secrets.
Ramou's honor to opponents, fighting a masculine method to friendship, is clear from the start, yet puzzles me. His sensei is often referenced. Why does he only return stolen ten to Horace's attackers who tried to kill them both, not take the rest for his empty pickpocketed own wallet p 40? Stage fright is unexpected in such confident courage, so he was pegged for apprentice actor, double surprise that he is appointed technical assistant and requisite third for crew.
Despite many skipped pages - boring free speech rants, stereotyped cast, confusing same voice for narrators widely separated by age, temperament, education, experience - questions tantalize. Who follows them, always recognizable by his same gray outfit? Is he from Ramou's false paternity accuser, government Rudders, or maybe pursuing quiet Charlie? Elegant streamlined old-luxury Cotton Blossom heads out with me onboard for sequels.
February 6, 2016
It was fun, and I enjoyed the subtext of the Parents Music Research Council (hey, it was written in the 90s), especially the link with politicians' need to cover up other legislation (the idea is to make people stop listening). Well, mostly. This is written as a broad satire, so there are plenty of silly names and clownish characters. And there just not enough in way of a plot… it's like the first part of a novel (and indeed it's the first of a trilogy).
April 10, 2008
This book departs a bit from the Warlock series. It's set in the same universe, at about the same time as Escape Velocity, but it shows the results of the democracy's downfall from the perspective of a traveling troupe of actors. This book and the others in the series focus a lot more on the history of theater than politics, which makes for an interesting change.
June 25, 2013
As a theatre person and a fan of science fiction, combining the two as effortlessly as Stasheff did entertained me to no end! Actors, technicians, really anyone who's worked in the theatre industry will appreciate this book and its series, Starship Troupers. Well worth checking out!
February 1, 2008
This series is short, but funny. I enjoyed the references to actual historical plays and their future reviews.
Displaying 1 - 17 of 17 reviews