#676
Posted: 8/31/19 at 12:28pm
Obviously it's not official yet, but I'm bummed if it's true that we're not getting Jonathan Bailey.
COMPANY starring Katrina Lenk and Patti LuPone will open March 22 — Page 28
#677
Posted: 8/31/19 at 12:30pm
The age of 8 Is likely a mistake. I would say mostly anyone under 14 would probably be extremely bored by the show. Company is known as a sophisticated musical for adults (as most Sondheim shows.) I assume they will go for a 12 and older audience recommendation, the same as the Chicago revival.
Updated On: 8/31/19 at 12:30 PM
#678
Posted: 8/31/19 at 1:57pm
Jonathan truly stopped the show the night i saw it in the West End...he was so exciting...and it is a true shame he won't be on Broadway stopping the show there as well...they better cast someone truly exceptional in this role!!
#679
Posted: 8/31/19 at 3:42pm
The number almost always stops the show, regardless of who performs it. It is the star and the singer is just the vessel for its genius.
Bailey was overwrought to the point of seeming hysterical 2 of the 3 times I saw the show. I'm grateful he will isn't coming over. You need a singer who lets the song work its magic, not one who tries to make everyone look at him and how great he is performing it.
#680
Posted: 8/31/19 at 4:00pm
Steven A2 said: "The number almost always stops the show, regardless of who performs it. It is the star and the singer is just the vessel for its genius.
Bailey was overwrought to the point of seeming hysterical 2 of the 3 times I saw the show. I'm grateful he will isn't coming over. You need a singer who lets the song work its magic, not one who tries to make everyone look at him and how great he is performing it."
I didn’t see him so I can’t comment on his performance, but I definitely agree there are times when it’s better to step aside and let the material speak for itself. Especially with comedic material, I have also made the mistake of over delivering what I know to be a funny line rather than just letting the material speak for itself. Sometimes it doesn’t need your help. Sometimes you honestly just have to say it and that’s it. You’ll get the laugh.
#681
Posted: 8/31/19 at 6:00pm
In London even the priest who sings 'Bless this day...' nearly stopped the show with her part. I loved Jonathan Bailey, but with this production's staging on top of the brilliant writing it would be pretty hard to go wrong with that song.
#682
Posted: 9/1/19 at 3:01pm
I agree the writing & staging is top notch - it'd be really hard to screw it up.
People might have already noticed but I LOVE that on their website the 'NY' in 'Company' flashes. The new artwork in general is a great subtle improvement - I love the straw and olive in the glass now too.
https://companymusical.com/
Give me claws and a hunch, just away from this bunch.
#683
Posted: 9/1/19 at 5:59pm
Yes, I love the small tweak to the logo. They need to send the message that this show is fun and fresh and contemporary, because it really does feel that way. It will just be about making casual theatregoers realise it enough to buy tickets.
With this as well as the new part of the design Bunny Christie hinted at, they seem to be thoughtfully looking for small improvements. As if this show needed it.
#684
Posted: 9/1/19 at 6:17pm
Yep, Marianne stated this won’t be a replica of the London production, and they will make improvements where necessary.
I know the “Another Hundred People” sequence was almost universally disliked, so I’m wondering if that will be changed for Broadway.
I know the “Another Hundred People” sequence was almost universally disliked, so I’m wondering if that will be changed for Broadway.
#685
Posted: 9/1/19 at 6:45pm
I hope they make tweaks. It felt very "British" (Rosalie Craig wore a fascinator during "Not Getting Married" for example ) which felt very off since the show treats New York City as one of its characters.
Updated On: 9/1/19 at 06:45 PM
#686
Posted: 9/1/19 at 8:12pm
god this board is not to be believed...i say one thing and someone else says another, then the flood gates open...yes GETTING MARRIED is a song that creates a lot of buzz when performed, but seeing Bailey in London, and discovering this new young man singing at a fever pitch, myself and the audience were cheering HIM on, as well as the song...and there were only 2 stopped musical numbers the night i saw this wonderful production...Getting Married and Ladies Who Lunch...to say that anything else happened the night i saw Company, you would have to have been there then...maybe other nights other things happened...i am only recounting what i saw!...
I hope they cast this NYC production with as much care as they did London...it wasn't a perfect show, Another Hundred People was not well staged in the first week i saw it...let's hope for better...
#687
Posted: 9/1/19 at 10:18pm
I'm not sure what you are reacting to so strongly.
In my case I merely pointed out that Not Getting Married almost always stops the show—as does The Ladies Who Lunch since you just mentioned it—almost regardless of who performs them. Being Alive usually draws a strong reaction as well.
They are almost foolproof audience pleaders/showstoppers. I've seen a half-dozen different productions of Company over the years and this has always been the case. What would be surprising is if they didn't produce a strong reaction.
In my case I merely pointed out that Not Getting Married almost always stops the show—as does The Ladies Who Lunch since you just mentioned it—almost regardless of who performs them. Being Alive usually draws a strong reaction as well.
They are almost foolproof audience pleaders/showstoppers. I've seen a half-dozen different productions of Company over the years and this has always been the case. What would be surprising is if they didn't produce a strong reaction.
#688
Posted: 9/1/19 at 11:25pm
What was wrong with "Another Hundred People?"
#689
Posted: 9/1/19 at 11:42pm
CATSNYrevival said: "What was wrong with "Another Hundred People?""
It was pretty cheesy.
Updated On: 9/2/19 at 11:42 PM
#690
Posted: 9/2/19 at 12:27am
If Matt Doyle, as rumored, is being cast as Jamie, I bet he'll be terrific. I've seen him shine in other shows (''Spring Awakening,'' etc.). But I wish Jonathan Bailey had been given the chance to reprise his Olivier Award-winning role. He was so good that he even beat out his ''Company'' co-star, Richard Fleeshman, in the same Supporting category. And, yes, ''Getting Married Today'' is a terrific number, but I believe Bailey is the first one to win a major theater award performing it. (Veanne Cox was Tony-nominated for the 1995 Broadway revival, but Beth Howland got passed over in the original cast.)
Meantime, Patti LuPone will be reprising her Olivier Award-winning role as Joanne. But LuPone already got to play her before, opposite Neil Patrick Harris, in 2011, and that performance is even on DVD. It might've been more exciting to see another legendary lady take a crack at that plum part.
Updated On: 9/2/19 at 12:27 AM
#691
Posted: 9/2/19 at 6:20am
I'm not sure I get the logic of passing on Lupone simply because she played the part before in a one-week concert staging of the show, particularly if we apply your standard of transferring people who won the Olivier Award for their performance ... which Lupone also did.
#692
Posted: 9/2/19 at 6:24am
CATSNYrevival said: "What was wrong with "Another Hundred People?""
Some people did not like PJ's (George Blagden) interpretation or singing, but the dance montage was very cheesy with people dancing in slow motion on two NYC subway cars. Presumably the idea was to have them represent the action described in the lyrics, but it added little to the number and just felt very literal and unnecessary.
#693
Posted: 9/2/19 at 8:54am
I felt "Another Hundred People" was ok. There were 2 subway cars and people entering/leaving and at times you'd see a person give another person a second look, etc.
I can see how people can say Jonathan Bailey overacted the role but I thought it was great and I'd buy a ticket in a heartbeat to see him perform again as Jamie. He practically had a nervous breakdown and by the end of the song his shirt was drenched with sweat which is something one doesn't really see with previous productions of Company. I guess he can sweat-on-demand which I think is really hard.
#694
Posted: 9/2/19 at 9:09am
^ ooo anxiety gay FTW!
This description alone makes me want to see Brandon Uranowitz in the part so bad.
This description alone makes me want to see Brandon Uranowitz in the part so bad.
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
#695
Posted: 9/2/19 at 2:19pm
Random, but has anyone noticed that the artwork on the website changes throughout the day from solid purple to mostly black with purple? Which do you like better?
I like both, but the solid purple feels like a nod to the solid purple of the 1970 artwork. But the black with purple is very sleek and stylish. 
Updated On: 9/2/19 at 02:19 PM
#696
Posted: 9/2/19 at 2:27pm
CATSNYrevival said: "What was wrong with "Another Hundred People?""
i saw COMPANY the very first week of previews and ANOTHER HUNDRED PEOPLE to me was very clunky...it was not a smooth choreographed number...the song seemed to stop and start...now maybe my memory from the original production inn 1970 has dimmed, and maybe i have listened to the OBC album way too may times, but the way this number was that very first week diminished the song's power...
#697
Posted: 9/2/19 at 2:51pm
Steven A2 said: "I'm not sure I get the logic of passing on Lupone simply because she played the part before in a one-week concert staging of the show, particularly if we apply your standard of transferring people who won the Olivier Award for their performance ... which Lupone also did."
The other thing about LuPone’s performance though is that it isn’t the same as her concert performance on so many levels. She sings part of a ‘new’ song (have I got a guy for you), her style/look is different, her line readings are different, even her singing is different. Personally, when I watch her in the Lincoln concert clips I cringe and can’t get through them. So personally for me it is new/fresh
I also can’t think of a better alternative. Bernadette would be miscast and has the persona of exactly the kind of person Joanne would hate. She also doesn’t have the voice anymore and the role generally just wouldn’t play to her strengths. Donna Murphy seems like a good choice to me but does not have the same star power as LuPone and her voice would be second best. Who else fits the bill? Maybe Audra but her vocal style doesn’t suit the part. I always thought Martin Mazzie could do anything, but...
Catherine Zeta-Jones might have pulled it off if they wanted a bit of star power.
Ebersole could probably pull it off
Betty Buckley doesn’t have the voice anymore.
I just can’t think of a better choice than LuPone, which is why I’m not surprised she is still with the show. I can imagine she will win her 3rd Tony.
Give me claws and a hunch, just away from this bunch.
#698
Posted: 9/2/19 at 3:10pm
ANOTHER HUNDRED PEOPLE does start and stop in the script. There are 2 short scenes with the other 2 "girlfriends" between the choruses of the song.
#699
Posted: 9/2/19 at 3:29pm
qolbinau said: "Steven A2 said: "I'm not sure I get the logic of passing on Lupone simply because she played the part before in a one-week concert staging of the show, particularly if we apply your standard of transferring people who won the Olivier Award for their performance ... which Lupone also did."
The other thing about LuPone’s performance though is that it isn’t the same as her concert performance on so many levels. She sings part of a ‘new’ song (have I got a guy for you), her style/look is different, her line readings are different, even her singing is different. Personally, when I watch her in the Lincoln concert clips I cringe and can’t get through them. So personally for me it is new/fresh
I also can’t think of a better alternative. Bernadette would be miscast and has the persona of exactly the kind of person Joanne would hate. She also doesn’t have the voice anymore and the role generally just wouldn’t play to her strengths. Donna Murphy seems like a good choice to me but does not have the same star power as LuPone and her voice would be second best. Who else fits the bill? Maybe Audra but her vocal style doesn’t suit the part. I always thought Martin Mazzie could do anything, but...
Catherine Zeta-Jones might have pulled it off if they wanted a bit of star power.
Ebersole could probably pull it off
i
Betty Buckley doesn’t have the voice anymore.
I just can’t think of a better choice than LuPone, which is why I’m not surprised she is still with the show. I can imagine she will win her 3rd Tony.
"
I agree. Patti received some of the strongest raves of the career in London. There was no chance she wouldn’t repeat her performance on Broadway. She is famous for changing her interpretation from production to production, so I would expect some changes from her London performance. Just like how her three Roses were completely different. Also, no major Joanne since Stritch has received the raves that Patti got in London. She is the only Joanne since Stritch to really make a mark with this role. Debra Monk and Barbara Walsh were completely underwhelming, and Shelia Gish in London did a Stritch imitation.
Updated On: 9/2/19 at 03:29 PM
#700
Posted: 9/2/19 at 5:05pm
Just a little speculation for fun. , what about Erich Bergen for Andy?
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