SonofRobbieJ said: "It was noted above that they may make 'April' 'Andy' and male. But it will still work. Though the joke of 'June' 'April' will be lost.
"
that was what I was thinking, Bobby can't remember her name but knows it's a month
Ado Annie D'Ysquith said: "I've been saying it since age 15 and I'll share it here too. I don't care if you are Larry Kert, if you portray Bobby as gay you lose the whole point of the piece. It essentially turns into a coming out story, when in reality the moral is SO much more deep and complicated than that.
I don't think "deep' and 'complicated' are the right words...I would say 'universal'. Coming to terms with his gayness in 1971 or 2 (whenever it opened) would be very deep and complicated, but narrowed to a specific 'population' in focus. If you assume that it is about a person who doesn't know how to commit himself to a partner OF ANY SEXUAL PERSUASION, that is more universal.
If Larry Kert portrayed Bobby as gay, I really didn't see it; but, I aways thought he was a better singer than actor, so I might have missed it.
Ado Annie D'Ysquith said: "I've been saying it since age 15 and I'll share it here too. I don't care if you are Larry Kert, if you portray Bobby as gay you lose the whole point of the piece. It essentially turns into a coming out story, when in reality the moral is SO much more deep and complicated than that.
"
Years before I worked with him and heard his approach to the role, I saw Larry Kept in COMPANY. He didn't mince through the evening. And it's not like he was playing in Peoria, where Prince, Furth and Sondheim wouldn't see what he was doing.
In his account to me and others, he was describing the subtext he brought to the part. What an actor uses for subtext doesn't necessarily read literally to the audience, even though it may make his/her performance seem richer and more cohesive.
As I said above, I agree with you that the "coming out story" oversimplifies what is a complex view of relationships, gay or straight.
***
Speaking of which, one of the things I liked about Neil Patrick Harris in the part was that he was, in my experience, the first Bobby who would actually bring soup to sick friends or be trusted to babysit their kids. Often times, Bobby is played so intensely, one doesn't really believe all the couples actually LIKE him.
I saw Jim Stanek as Bobby, and he played the role without irony or condescension or dark sarcasm. It became a portrait of a guy who really does have it all, and realizes he wants something more.
I wonder if the show would work even better with a female lead. I'd definitely be curious.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
You Could Drive A Person Crazy: @RFleeshman @gblagden & @MatSeadonYoung play , respectively, Andy, PJ & Theo who are @Rosiemae ‘s boyfriends (gender swap from April , Marta & Kathy) in @_elliottharper production @CompanyWestEnd
Not sure why this was bumped, but I will use it as an opportunity to address JBroadway's comment. I don't think the creatives are afraid of having a lesbian Bobbi, I simply think that this is an extension of Sondheim's original idea that Bobby or Bobbi's lack of commitment is not to be construed as indecision about his/her sexuality.
“I knew who I was this morning, but I've changed a few times since then.”
QueenAlice said: "Not sure why this was bumped, but I will use it as an opportunity to address JBroadway's comment. I don't think the creatives are afraid of having a lesbian Bobbi, I simply think that this is an extension of Sondheim's original idea that Bobby or Bobbi's lack of commitment is not to be construed as indecision about his/her sexuality. "
This comment is really most of my conversations with my musical theater friends about Company. Calling Bobby gay is just about the laziest trope/explanation for that character. The creator of the show said he's not gay. Why must we tell that to ourselves to make the story more palatable to us? In the context of a truly re-envisioned show, I would be curious about changes in character sexualities etc., but Company as written, does not have a gay lead character.
I'm perfectly fine with a true gender swap in this West End production. Wouldn't have minded a guy singing Not Getting Married Today (is that happening?)
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
I really wish I could be fiscally irresponsible and go to London for this! I'm hoping for a filmed version, though.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad