Company London- Page 14

[uncageg]

Posted: 2/2/19 at 12:19am

ljay889 said: "It’s not right to judge the entire production based on the cast recording. "

 

listening to it now and thinking "maybe i need to see it" to enjoy it. The recording is lacking in emotion. Feels like they are just singing it. And i love this score. JMO

 

[GavestonPS]

Posted: 2/2/19 at 12:34am

Nowhere_Dan said: "NightMusic3 said: "I love a lot of the changes. One line I'd quibble with though:

Original:

Today is for Amy
Amy, I give you the rest of my life
To cherish and to keep you
To honor you forever
Today is for Amy
My, happily, soon-to-be wife

Updated:

Today is for Jamie
Jamie, I give you the rest of mydays
To cherish and to keep you
To honor you forever
Today is for Jamie
My lover, my partner, mylife

Sondheim didn't maintain the rhyme between those two lines. It's odd given how fastidious he is in regards to maintaining rhyme schemes."



This is very interesting indeed. I’d argue that there isn’t another usable rhyme for the word “life” that suits the context since “wife” is not available due to the gender change. So, my guess is that Mr. Sondheim didn’t want to use the word “life” twice since a word doesn’t rhyme with itself so he went with a completely different sounding word (“days" )so it’s made absolutely clear thatthere’s no attempt at a rhyme there. My 2 cents.

"

Sondheim is more confident when it comes to leaving lines unrhymed these days. Notice that no of the other lines in the two stanzas. I could come up with several rhymed couplets off the top of my head and I'm sure Sondheim can come up with even more.

("Amy, I give you my will and my ways.../Through all of my future days."

"Amy, I give you my hope and my strife.../For better and worse, my life."

I'm not saying these are brilliant subs, just that I can think of them as fast as I can type.

I think it's more likely that whatever reason Sondheim decided not to rhyme Paul's other lines is probably also the reason he didn't rhyme the fine lines.

[binau]

Posted: 2/2/19 at 2:34pm

BenElliott said: "I quite like the changes. I've seen a traditional Company so many times now that I really welcome a radical reinvention. The show suddenly feels more relevant and fresh now. However, there's an odd energy about this recording. The pacing feels kind of hesitant, which is odd. I'm sure it must feel more energized in the theatre. Hopefully, we'll get a transfer.

Also, is Jonathan Bailey attempting an American accent because he just sounds English?"

He is indeed attempting an American accent. There is only one character that is truly 'British', and that whatever Marta's male character is now. I wonder if that's one reason (in addition to truly awful staging plus creepy vibe of the character, as much as I loved the show) "Another Hundred People" doesn't work for me. And I find the accent really jarring  and pretentious in the title track too. 

[binau]

Posted: 2/2/19 at 2:57pm

uncageg said: "ljay889 said: "It’s not right to judge the entire production based on the cast recording. "



listening to it now and thinking "maybe i need to see it" to enjoy it. The recording is lacking in emotion. Feels like they are just singing it. And i love this score. JMO

"

I guess you can judge for yourself if/when it goes to Broadway (apparently it is, although sales have slowed a little and I wonder if it'll spook investors), but I do think the show needs to be seen for the characters to be fully understood.

First, Rosalie Craig (as I complained about ages ago) is not an amazing, virtuoso singer. I think much of the acting and character is coming through her facial expressions (e.g., in "Someone Was Waiting" and "Being Alive) plus the book scenes - where she comes across as an incredibly warm, funny, friendly girl that you just really want to be friends with. Personally, I think while a nice and cute performance I still believe as we discussed ages ago that she could be replaced. I am convinced personally I will never see a better production of Company again in my lifetime, but I think this is not the 'definitive' Bobbi. I honestly wonder if that person is Laura Benanti, who will change the tone of the show slightly because she is very very glamorous (whereas Rosalie Craig feels like a good looking sort of everyday girl you could actually know in reality). But who is SO funny and has star presence (though even she might not deliver a virtuoso singing-acting performance that someone else could have). Why didn't Sondheim originally write the show for Bernadette Peters in the first place :P? (1970). 

Second, this is a show with a lot of book scenes so because the dialogue is so spare on the recording many of the supporting characters are lost. Andy is a perfect example to me - without the Butterfly scene with Bobbi you really don't 'know' him at all. Similarly "Sorry Grateful" is a rather meh song to me without the context of the scenes that happened beforehand with those characters. 

Third, without the staging I do think things can get lost. "Not Getting Married" to me is a non-event on the recording, but in the theatre was really really funny with the priest coming out of random places, such as the fridge, plus the actor's very anxious/emotional facial expressions. "Poor Baby" also was so funny in the theatre because when these men are singing about Bobbi at times they were sitting on the end of her bed (in like a typical theatre trope where they weren't actually there) while she was having sex. 

Anyway, of course overall I would claim the recording does accurately capture the performances (as I would the Bette Midler Hello, Dolly! despite what some claim here) - but it's of course a different experience without the context of seeing the production first. 

If this is a success on Broadway I truly wonder if we will ever see the original Company ever again on Broadway in our lifetime, unless some major a-list star in a couple of decades expresses some kind of interest in the show. 

 

[CATSNYrevival]

Posted: 2/2/19 at 3:20pm

I'd love to see a staging of the original Company, like Hal Prince's current Evita tour, that recreates the original staging and Michael Bennett's choreography. I've only read about them here and I've always been curious how the elevators worked and how they were used. I've only ever seen pictures of the set mostly focused on the actors.

[GeorgeandDot]

Posted: 2/2/19 at 3:29pm

Rosalie Craig sounds like she has a killer voice. I don't really understand the comments about her voice only being ok. I do think they'll probably have to replace her if they want to bring this to broadway and have the production make any money.

[CATSNYrevival]

Posted: 2/2/19 at 3:34pm

I still think if they wanted Sex and the City the musical they should have just written Sex and the City the musical.

[Up In One]

Posted: 2/2/19 at 3:42pm

CATSNYrevival said: "I'd love to see a staging of the original Company, like Hal Prince's current Evita tour, that recreates the original staging and Michael Bennett's choreography. I've only read about them here and I've always been curious how the elevators worked and how they were used. I've only ever seen pictures of the set mostly focused on the actors."

Agree, agree, agree and agree!

[binau]

Posted: 2/2/19 at 4:23pm

GeorgeandDot said: "Rosalie Craig sounds like she has a killer voice. I don't really understand the comments about her voice only being ok. I do think they'll probably have to replace her if they want to bring this to broadway and have the production make any money."

When I think of killer voice I think of Betty Buckley (in her prime), LuPone, Bernadette Peters (in her prime), Ebersole, Ripley (in her prime), Marin Mazzie, Donna Murphy (in her prime), Victoria Clark, someone like Patina Miller, or for Company specifically Raul Esparza. All very unique sounding, very skilled at using their vocals to convey a characte/tell a story. The actual quality, acting and timbre of the singing performance a major major strength. When I listen to Rosalie I personally hear sweet, nice voice that serves the score well but not something that will go down as a historic vocal performance like many of the above have given. I want this kind of performance in Company when it transfers (I know it’s difficult though because it seems like people are being trained or cast to sound all the same these days). 

Updated On: 2/2/19 at 04:23 PM

[JBC3]

Posted: 2/2/19 at 4:54pm

GeorgeandDot said: "Rosalie Craig sounds like she has a killer voice. I don't really understand the comments about her voice only being ok. I do think they'll probably have to replace her if they want to bring this to broadway and have the production make any money."

I agree 100%. her singing is more than fine for this particular role and when combined with her warm presence and engaging acting, it makes for a wonderful night of theatre. Bobbie does not need to be an A-list belter.

[ljay889]

Posted: 2/3/19 at 12:35am

Could somebody who has seen the production tell me if it opens with the Overture as heard on the cast recording? 

[JaglinSays]

Posted: 2/3/19 at 1:11am

I’ve seen Craig in lots of shows; she has a terrific voice.  In this instance, the dumb-dumb music director put many of her songs in the wrong key.  Sure, she can sing them but it would be more flattering lowering the range of some.

[ljay889]

Posted: 2/3/19 at 10:14am

I’ve also noticed her keys seem a tad high. They’re not detrimental to the overall enjoyment of the score, and I’d assume Sondheim could’ve intervened in regards to it, as he was extremely involved with this production.

[binau]

Posted: 2/6/19 at 5:05am

Rosalie has missed 1.5 performances this week (that brings 2.5 in total). The understudy is a black woman, which is cool and a bit novel considering some of the dialogue. I’m going tonight and hoping the understudy will be on again. Also, I’ve already seen Craig sick and I don’t want to go through that again!

Updated On: 2/6/19 at 05:05 AM

[kdogg36]

Posted: 2/6/19 at 8:21am

CATSNYrevival said: ""Look I'll text you in the morning or I'll call you and explain." Nope."

It's about as elegant as the original lyric, in my opinion. 

[binau]

Posted: 2/6/19 at 6:14pm

The show is INCREDIBLE and needs to come to New York now. Someone start printing LuPone's Tony



Marta guy: “How many blacks do you know?”
Bobbi makes an odd ‘wtf’ facial expression
*audience laughs*
<ad lib>Marta guy: “never mind”</ad lib>
 

[ljay889]

Posted: 2/6/19 at 6:49pm

Great pic.
Can you confirm if the production begins with the Overture from the cast recording or not?

[binau]

Posted: 2/6/19 at 6:52pm

It doesn’t begin with it. It begins with New York City sounds and sirens etc. while Bobbi walks into her apartment with the balloons saying 35. Then she sits down and listens to msssages eg Patti saying this is a dirty phone call. Then ‘overture’ as in cast recording begins. Then more dialogue. Then title song starts.

[binau]

Posted: 2/6/19 at 6:53pm

Also, they completely cut Tick Tock with this understudy.

[ljay889]

Posted: 2/6/19 at 9:34pm

Thanks for the info! I was curious how they worked it into this production.
Very interesting that Tick Tock is cut with the understudy.

I can’t wait for the inevitable broadway transfer!!

[Footlight Parade]

Posted: 2/7/19 at 1:23am

I saw in in London in October. Hated it. If you like seeing Bobbie played as a borderline alcoholic...who throws up into a bucket (while Patti LuPone holds her hair back)  during Side By Side you might like it.. Getting Married Today...an "angel" (soprano) comes up through a trap...then decends only to re-emerge to sing her next part of Not Getting Married Today through a refrigerator...ugh. Another Hundred People...two trucks come on from each wing...they are train carriages ... the passengers dance during the sung parts of the song.... so who are you supposed to be watching? The actor singing or the dancers? The Tick-Tock ballet is gone...only to be replaced by multiple Bobbies...( a dream sequence) one pregnant Bobbie, one nursing Bobbie and so forth...all the time you see over and over multiple guys (playing a pilot) going to the bathroom and urinating and missing the toilet bowl. The saddest thing was seeing Tony award winner Patti LuPone having to pick up a table for two and carry it upstage left (the night I saw it a stage hand ran out to help her). This whole production seems to be aimed at the lowest common denominator. Book writer George Furth must be spinning in his grave. If you are a purist (like me) and have seen COMPANY as it should be...save your memories.... this production won't satisfy your love for a great show. Those that have only seen this presentation don't know what they missed. This production should have been called WHEN COMPANY WENT WRONG.

[binau]

Posted: 2/7/19 at 3:36am

Chita was also there last night! So cool. Re: Footlight Parade yes very few of us are 70 years old and ‘know’ what we are missing in terms of the original production, sadly.

[petey_p]

Posted: 2/7/19 at 9:49am

I heard a clip of the recording and was surprised by Jonathan Bailey's rather shaky American accent. I saw it in previews and he did NOT sound like that. He was terrific and for me was the highlight of the show (specifically the brilliant staging of "Not Getting Married".

I've also seen the clip of him singing from The Last Five Years and his accent sounded great in that, too.

[ljay889]

Posted: 2/7/19 at 12:47pm

I think most of the accents throughout the recording are wonky, but I’ve come to expect that from British cast recordings of American musicals.

[Valentina3]

Posted: 2/7/19 at 1:52pm

ljay889 said: "I think most of the accents throughout the recording are wonky, but I’ve come to expect that from British cast recordings of American musicals."

...deep talks, long walks, telephone calls
farts shared, souls bared, private names...