Company Previews Thread- Page 7

[Ftworthguy]

Posted: 3/3/20 at 11:54pm

Phone Rings, Door Chimes, in comes BRILLIANCE. 

I was blessed enough to go to the very first preview of the new COMPANY. 

So we started with Director Marianne Elliott welcoming us. And then I found out that Stephen Sondheim was in the audience. Sooooooo...it was the right performance to attend. 

This production is so new and so fresh it feels like it was written 50 weeks ago, not 50 years ago. Changing Bobby to Bobbie alters the entire show and it works. Katrina Link becomes a "new Bobbie" that is weary of marriage. She is kind, has lots of friends and some of them with benefits. 

The switches in the production almost all work well. One couple that isn't 'switched' is Harry and Sarah. OMG -- Jennifer Simard and Christopher Sieber are comic GOLD But what I love most about them, is that their relationship is REAL. As are all of the other couples in this production. 

"You Can Drive a Person Crazy" by the three men in Bobbie's life, Andy, Theo and PJ, takes a song we all know and delivers it in a such a new fresh way, that it took my breath away -- JESUS, so good. 

The 'wedding' couple of Paul and Amy are now Paul and Jaime, a gay couple of the verge of a nervous breakdown. Well, Jaime is at least. DEAR GOD, "Getting Married Today" is a show stopper and Matt Doyle gets a Tony Nomination, maybe a win, for this INCREDIBLE performance. 

In act two, we have the new Poor Baby, that interrupts the love making of Bobbie and flight attendant Andy -- (Thank you Claybourne Elder, for being BEAUTIFUL and funny as hell) 
HOLY CRAP it's so fun -- followed by Tick Tock.... A completely new vision of the number that is BRILLIANT. 

Then we have LuPone AS Joanne, singing "Ladies Who Lunch" -- she barely MOVES, but inhabits everything that Joanne is. She sings the 11 oclock number like I've never seen it done before. With power and pathos and pain. SHE IS BRILLIANT. She is (obviously) nominated for a Tony and it's neck and neck if she wins number 3 or Lauren Patten takes it. 

This is a STUNNING production. The set design wins the Tony, and it wins revival, but regardless, SEE THIS PRODUCTION. I've always loved this show, but this production, with a female Bobbie, is the first time I wanted to direct it.

[RippedMan]

Posted: 3/4/20 at 12:00am

I saw this tonight and was in the front row of the mezz all the way house left in the "partial view" seat. But I didn't miss anything. Maybe a line or two, but 99% o the show I saw just fine. It's all done pretty downstage center. 

Elliot nailed it. I fell in love with her direction when I saw her "Angels in America" in London, and she did not disappoint. I love stagecraft, and she just keeps the audience excited and guessing in the design and direction. The little Alice in Wonderland door?! C'mon! So great

Lupone is Lupone, but she's incredible. Just some really hilarious line readings. And she is that part. And her voice is fantastic. 

I wasn't so taken with Doyle. The audience went nuts after, but I was more a fan of the direction of the scene rather than his particular performance. 

Everyone was on fire. I love Jennifer S!!! She set the tone for the show with her scene and the laughing never stopped. 

I, for one, was really taken with Lenk. It's a star turn. She is just so charismatic and charming. I also love that she has a masculine energy about her. She just felt very cool and laid back and I wanted to have a drink with her Bobbie. Her vocals were a little off, but her acting was incredible. I loved her "Being Alive." Sure, she's a musical theater actress, but she's done shows like "A Band's Visit" and "Once." This is a different beast. And she's the lead. She's on stage the whole time. I'm sure it's a difficult thing to navigate and figure out. I'm excited to return in a few weeks and see how she's grown. She's gonna grow into it without a doubt. It's a big show, and I"m sure a lot of the time was spent on the tech and not the moment to moment and whatnot. I expect raves for her. 

[ljay889]

Posted: 3/4/20 at 12:05am

Some minor things to add. Sondheim has reverted back to the lyric “and Jesus Christ is it fun” in The Little Things. Patti sang “oh my god” instead in London. Regarding “

Regarding Tick Tock:

 

Click Here To Toggle Spoiler Content

Something must’ve changed since London. It doesn’t really depict domestic abuse. They have Anisha Nagarajan completely styled as Lenk and she receives a couple of unwanted taps on the butt. 
Patti is drunk in a nightie with panties around her ankles and squats over the toilet. It received big laughs again tonight. 
I perceived the number to portray the monotony of day to day marriage and motherhood and Bobbie’s anxiety and unwillingness to commit to it. 

 

[RippedMan]

Posted: 3/4/20 at 12:11am

Yeah I got that too ljay. 

I'm not totally familiar with Company. I've seen a crappy college production and the Doyle one on PBS. 

What normally happens during that number? 

Also what normally happens with the Larry/Bobbie characters after "Ladies Who Lunch?" Lenk and Lupone's friendship made sense to me, but I couldn't imagine it as a single guy and an older lady? And then she offers up her husband? 

[ljay889]

Posted: 3/4/20 at 12:15am

When Tick Tock is used it’s a total dance number for Kathy. This new Tick Tock features a new arrangement but if you listen closely there are a few nods to the original arrangement. 

In the original, Joanne herself proposes making it to Bobby. Not many lines have been changed for the rewrite of this moment besides Joanne offering Larry.

Updated On: 3/4/20 at 12:15 AM

[HugoP]

Posted: 3/4/20 at 12:22am

Just got back from the Tuesday night preview.    I've seen about 10 productions of COMPANY over the years, including the Doyle version, the concert version that was shown in theaters, and numerous regional theatre productions.    I love that score, appreciate the time and place of that book and setting, and look forward to seeing new interpretations of it.   

The gender/switch works fine....didn't bother me at all.   What DID bother me in this production was the relentless mugging and smiling and over-doing everything.    It's one thing when someone like Sieber, Simard or Fitzgerald go broad-- they are masters at it, and-- for me, at least-- they were wonderful.   But the whole cast is doing it, all the time, and it really hurts the performance.   

Two very big issues for me were the excessive business about selfies and smartphones...and the costumes.    Are people in their mid-to-late thirties that consumed with taking group selfies that do it constantly (and un-ironically?).    It left most of the performers with silly grins on their faces throughout most of the group numbers.    Costuming is also terrible, with Rashidra Scott (who seems like she must be talented) dressed like she's in a different show (and of a very different age).     

It was very tough to believe that any of these people were parents.  COMPANY leaves the kids off-stage, but I've seen productions where the performances, and costuming and direction, allowed you to believe these were all flesh and blood couples....and they were all good friends with Bobby.   Not here.   I couldn't buy it at all, except in the scenes with the maybe-marrying Jamie and Paul.     

On the plus side, beyond Fitzgerald, Sieber and Simard:   Fabulous orchestra!   and NOT GETTING MARRIED works well (though, again, too much 'business' going on-- why do we have a drunk priest in there to pull focus from the core drama/comedy?), YOU COULD DRIVE A PERSON CRAZY totally works-- a delight that was pure showmanship, Elder's work overall is great, and SORRY GRATEFUL was nicely staged and sung.

On the negative side:  Lenk-- whom I loved in BAND'S VISIT-- does not seem to be in the same world as these people-- can't tell if it's her or if it's them.    And her voice is too weak, except I did like her BEING ALIVE.    The choreography for SIDE BY SIDE is terrible-- I have no idea what was intended.   And, to answer one of the earlier posters, LuPone delivers LADIES completely seated... which takes away a lot of the power.   She's also doing a lot of stuff with the song and not in a good way--- have heard her do it so much better (and straighter) in the past, and was hoping for that.

Anyway, it's early in previews but they were certainly getting rapturous encouragement from the audience, so I bet they're not gonna change much....

Talented people, all.   But not one of the Top 5 or even 10 COMPANY's I've seen.   

[chrishuyen]

Posted: 3/4/20 at 12:28am

My friend sat in a partial view seat, orchestra K 22, and said it was pretty fine besides a couple times when there's the full house set on stage (split into unequal thirds) and she couldn't see the rightmost third, though not much happened there in those scenes.

I wasn't that into how they did Another Hundred People, which is usually one of my favorite songs.  I think Bobby Conte Thornton just didn't quite give it the spark that the other performers on cast albums have given it, and I was a bit distracted by some of the staging and set pieces.  I think it might play better to those in the orchestra though since you're probably able to focus on the people more (I was in rear mezz).

I adored Katrina Lenk and just about everyone else in the cast.  The set is incredible and it's a shame that it's the same season as Moulin Rouge because I think I'd rather this set win the Tony.  I loved the positioning of the orchestra as well. 

The only other version of Company I've actually seen is the Lincoln Center filmed version with NPH, where it seemed that Joanne was implied to be a bit of a gold digger, marrying an older man, but here Larry seems maybe a bit younger than her which I think lent her last scene a different meaning.

We were told by ushers that no one was coming out of stage door today, but I'll definitely be making another trip so I'm not too disappointed.

[RippedMan]

Posted: 3/4/20 at 12:31am

I agree about "Side by Side" and the choreography in general. Not good. I didn't get the point or what was going on. 

I also felt the end of Act 1 was bad. It just kind of ended. I know this isn't a typical musical and not structurally set up like one, but Act 1 felt a bit "eh" when the curtain came down. 

[OffOnBwayHi]

Posted: 3/4/20 at 2:34am

Saw this tonight. Really anticipated...did not love.

It was just OK to me. This was my intro to the show as a whole by the way; didn't know the score, story, characters — nothing. So I was very confused hearing all the laughs and cheers cause very little about this show was a hoot, and nothing made me stand on me feet. Patti def gave me what I needed though. She's truly IT! Broadway Queen still showing these young kids how it's DONE!

A few things:

- Loved the set. The set designer slayed. Not my fav this season, but one of the better ones. It was cool, clean, clever, modern. Speaking of modern...

- The score is so late and dated. It just doesn't work in today's time, imo. I would say the same about the new West Side Story, but it is purposely juxtaposing with today's times, so it oddly works and makes the production even more thrilling. Company's score set in 2020 sounds so stale to me. I did not use. Beautiful vocal harmonies though, and happy to see such a HUGE, FULL orchestra for a change. The production clearly has wads of cash.

- Why did they cast Lenk as the lead of this? She doesn't look the part (thought that when she was announced)  and she doesn't deliver vocally either, ESPECIALLY during her final number (Being Alive). I was like, giiiirl...

Does she not belt? Serious question. Is that not her thing? So confused by her delivery of pretty much every song. And to add to that, her accent showing when she sings is jarring to me because her speaking voice is so different. I actually long to see one of the understudies in the role instead of her...

I know it was just the second preview (so many technical issues at tonight's show, which were actually more exciting to me than the show itself), but this just did not work for me. Very sad about that. And I would say the weak link of it all is, well... Lenk. Which is unfortunate. How in the world did she book this...

This show actually had me leave the theater thinking that maybe I don't like Sondheim's work as much as I thought I did. (Roadshow @ Center Center was a snooze fest; West Side Story was fine, but I mean, he only did the lyrics; and clearly I have issues with Company.) But then again, maybe the issue is that today's theater artists aren't equipped to execute his work in a way that really makes it shine? Or maybe his work, although rightfully revered and praised, was innovative for its time and doesn't pop in the same way today?

Whatever is it, I'm sorry for this musical.

Updated On: 3/4/20 at 02:34 AM

[OffOnBwayHi]

Posted: 3/4/20 at 2:58am

Jarethan said: "A number of people have commented on the poor book,

I saw Company 3 times when it first opened in 1970. I have seen it at least 8-10 timestimes since then. There has never been a single time when I didn't cringe multiple times during the book scenes, sometimes uncomfortably because some of them were just so forced or, eventually, forced AND dated. IMO George Furth was a hack, and every production I have seen would have been much better if the book had been thrown out and redone from scratch. I have always wondered why Hal Prince didn't try to make it seem less episodic, e.g., now is the scene with the pot smokers, nowis the scene with the scared bride-to-be, etc.

Thatsaid, I have always felt the best way to view Company is simply to endure the book scenes and wait for the next musical number, since they are all so damned entertaining. By preparing myselffor the fact that the book sucks, I find that I enjoy it more. Based on what I have read here, I am expecting that I will have to cringe more during some of the scenes, are pot smokers in 2000 remotely funny?

Two last points: I am among the group people who hated Raul Esparza in the role. I thought that he was so cold that no-one would want to be his friend. His Being Alive was sung beautifully, however. I saw Boyd Gaines twice, once when he was having vocal issues early in the run (just as BP had early in the run of Gypsy), and once when his voice was better. I thought his performance was excellent, especially his Being Alive. He had a likability that made his aloneness all the more hard to observe.

In either version, the book still kept (and has always kept) Companyfrom being a truly great musical, even though I have loved most versionsI have seen to date."

Thanks for this, it gave me context because I agree, the book is a cringe fest.
 

"

 

[sng]

Posted: 3/4/20 at 5:10am

I just hope this show wins all the Tony this year over the other Sondheim-involved show.

[promisespromises2]

Posted: 3/4/20 at 6:15am

I’m confused about the whole Joanne/Larry/Bobbie thing. 

 

Click Here To Toggle Spoiler Content

In the original, would it be Joanne giving herself up to Bobby and why wouldn’t they just keep it that way? We are all adults, bisexuality and queerness exist (obviously, it’s in the show already).  Or does it add more to the show that Patti is offering her husband? Or is it just such an insignificant part that it doesn’t change anything regardless? I have only seen the NPH taping and have not watched it in a very long time. 

Regardless, I am very excited to see this at the end of the month! I splurged and got my partner and I first row mezzanine seats. 

[binau]

Posted: 3/4/20 at 6:58am

At first I was trying to rationalise this but in hindsight it would have been an interesting and hilarious moment to see Patti staring in Bobbi’s eyes asking to have sex with her. Can they try this in previews pls???

[binau]

Posted: 3/4/20 at 6:58am

At first I was trying to rationalise this but in hindsight it would have been an interesting and hilarious moment to see Patti staring in Bobbi’s eyes asking to have sex with her. Can they try this in previews pls???

[bwayphreak234]

Posted: 3/4/20 at 7:24am

 

I think it’s safe to say that my feet have not touched the ground since leaving the theatre last night. This production is absolutely smashing in every way. It is rare to see a production where every single element just knocks it out of the park the way they do here.

I was one of the people who was a tad nervous about Katrina Lenk’s cast when she was first announced. However, I did not need to fret. Lenk more than compensates for those high notes she may not hit as effortlessly as some with her brilliant acting chops. Her Bobbie is anxiety-riddled, charming, funny, charismatic, and heartbreaking all at the same time. It is quite the feat. 

The entire featured cast is excellent. Jennifer Simard and Christopher Sieber are role in the aisles laugh out loud funny. Matt Doyle stops the show cold with his “Not Getting Married Today”. Patti LuPone is Patti LuPone, and I don’t think she’s ever been better at it than here, and there is not doubt she will win the Tony.

Marianne Elliot’s direction is impeccable. I LOVED the transitions with the different doors and keys in the first act. Everything flows so seamlessly. I I LOVED the staging for “Another Hundred People” with the giant letter and Tinder swiping. There are so many little nuances and small choices in the direction here and there that add up and cohere so nicely to create such a stunning piece.

The set is slick and sexy. The main piece is an apartment unit that is repurposed for the various locales. There was a minor technical snafu last night that caused the show to stop for about 5 minutes. I could hear backstage noise with set pieces being prepped and stored during some of the quieter moments last night, but nothing major they won’t be able to iron out in previews.

It’s hard to capture my immense love for this production in words, but those ramblings are my best stab. This is one show I will definitely be revisiting again and again.

 

[Auggie27]

Posted: 3/4/20 at 7:59am

Lenk does not have that typical B'way belt, nor does she tend to interpret songs in a traditional way. Anyone who saw her eccentric New Year's Eve performance knows she's her own thing (with the musical theater repertoire), and the people who cast her knew they'd get an iconoclastic approach, not a big-voiced young diva. She just isn't that.  I'm reading reports here that either seize that as a plus, or regret the decision to cast her. She has been given two of Sondheim's songs that in the past gave actor singers a chance to open up, thri (Jones, Esparza). She doesn't really have that rangy style, so disappointment must be from those who didn't know what to expect. The show asks us to watch the protagonist almost coast through two acts, and then wear her heart on her sleeve in two numbers. If her acting is as impassioned as many attest, does it compensate for the less traditional vocals?  A question.

[binau]

Posted: 3/4/20 at 8:16am

I also wonder if this is clearly the director’s vision of the show given that it has been cast twice now with apparent non-powerhouse vocals (though I must admit I was/am expecting more from Lenk than Craig). If they wanted to get a powerhouse vocalist they could have, especially in New York City.

[hearthemsing22]

Posted: 3/4/20 at 8:47am

Ever since the first preview I can't stop wondering something I really shouldn't, but has been on my mind....with so many big names, I can't help but wonder about the longevity of this production. Am I the only one? Will it still draw audiences when someone like LuPone or Lenk leaves? I don't know. I don't know why this entered my mind when I enjoyed it so much (like I couldn't stop thinking about it yesterday). Just couldn't help but wonder. 

[ljay889]

Posted: 3/4/20 at 9:21am

Auggie27 said: "Lenk does not have that typical B'way belt, nor does she tend to interpret songs in a traditional way. Anyone who saw hereccentricNew Year's Eve performance knows she's her own thing (with the musical theater repertoire), and the people who cast her knew they'd get an iconoclastic approach, not a big-voiced young diva. She just isn't that. I'm reading reports here that either seize that as a plus, or regret the decision to cast her. She has been given two of Sondheim's songs that in the past gave actor singers a chance to open up, thri(Jones, Esparza). She doesn't really have that rangy style, so disappointment must be from those who didn't know what to expect. The show asks us to watch the protagonist almost coast through two acts, and then wear her heart on her sleeve in two numbers. If her acting is as impassioned as many attest, does it compensate for the less traditional vocals? A question."

I think it may be younger broadway fans who are accustomed to the belting of modern day pop musicals who are for some reason expecting the same thing here. Sondheim is not about belting, never has been, heck he yelled at Patti for belting during a Sunday in the Park audition. 
Lenk is a performance artist on the side and you’re right her eccentricities creep up in her stage performances at times. They knew what they were going to get with her, and if the rumors are true that Sondheim adores her, I’m not surprised. 

[InTheBathroom1]

Posted: 3/4/20 at 9:48am

Finally saw the show last night and THIS is how you contemporaneous an old musical.

I think the producers know this show isn’t gonna last longer than a year unless they have a big star lined up.

I see a world where this wins sets and lighting over Moulin Rouge a la Hadestown over Beetlejuice. Company’s sets feel more purposeful, creative, and exciting.

[hearthemsing22]

Posted: 3/4/20 at 9:54am

InTheBathroom1 said: "Finally saw the show last night and THIS is how you contemporaneous an old musical.

I think the producers know this show isn’t gonna last longer than a year unless they have a big star lined up.


I see a world where this wins sets and lighting over Moulin Rouge a la Hadestown over Beetlejuice. Company’s sets feel more purposeful, creative, and exciting.

"Idina Menzel takes over after Lenk. 

 

TOTALLY kidding. 

 

[OffOnBwayHi]

Posted: 3/4/20 at 9:55am

Auggie27 said: "If her acting is as impassioned as many attest, does it compensate for the less traditional vocals? A question."

No, it does not.

It wasn't bad, but it also wasn't knocking my socks off. Like you said though, I think it's the role.

 

[KitKatBoy24]

Posted: 3/4/20 at 10:20am

I don’t think they’ve intentionally cast Bobbie with restrained vocals. People are claiming that Rosalie was the same but that’s just not true. Rosalie still had a versatility and strength in all aspects of her voice. The problems I had with Lenk’s voice do not exist with Rosalie. Rosalie is giving so much emotion and also sounds fantastic.

Updated On: 3/4/20 at 10:20 AM

[OffOnBwayHi]

Posted: 3/4/20 at 10:25am

KitKatBoy24 said: "I don’t think they’ve intentionally cast Bobbie with restrained vocals. People are claiming that Rosalie was the same but that’s just not true. Rosalie still had a versatility and strength in all aspects of her voice. The problems I had with Lenk’s voice do not exist with Rosalie. Rosalie is giving so much emotional and also sounds fantastic."

!!!! THIS

[promisespromises2]

Posted: 3/4/20 at 11:09am

qolbinau said: "At first I was trying to rationalise this but in hindsight it would have been an interesting and hilarious moment to see Patti staring in Bobbi’s eyes asking to have sex with her. Can they try this in previews pls???"

Hahaha. I mean, I’m a lesbian.  Anything can happen, trust me.