Company Previews Thread — Page 10

Any perspective on Orch sides, not PV? Going next week in seats i 11-15 & would appreciate any insight! I didn’t see any Company specific shots on a View from my Seat there yet. Thanks in advance!"

We sat in Row K seats 22 & 24 99.00 each The views were absolutely fine. No problems at all.

The show was wonderful but I honestly think Lenk should be replaced. She is just not up to the vocal demands of the score.

I just saw the first four previews, and it’s been noisy backstage every night. There was almost another technical issue tonight while Bobbie was awaiting the David and Jenny set, there was an unusually long pause, but then everything worked fine.


Four previews later, and it’s back to reality for me. The show was sold out tonight with a completely full standing room, something I didn't notice during the other previews. All of the changes from the third preview remain, nothing new happened tonight. Performances are truly growing night by night, and it’s been fun seeing this cast evolve over the course of a few days. I genuinely and enjoy and respect Matt Doyle’s performance more and more each night. I appreciate that he doesn’t pull the predictable flamboyant and completely over-the-top approach that Bailey apparently used to great success in London. Doyle is still neurotic, but he’s grounded in a way that I find very relatable. Etai Benson continually makes such a strong impression as Paul. I’ve never cared about Paul until Etai’s performance.

I’ve seen Patti dozens of times in the past, and no two performances are ever the same. Each night she's been changing up little bits. She's known for constantly evolving over the course of a show’s run, even after it's opened. She’s simply marvelous in this production.

I love the intricacies of Lenk’s performance. Whether it’s a hand gesture or a facial expression, she is able to convey so much to the audience. Her singing is what it is. As someone mentioned earlier in this thread, it’s not like she sings out of tune, it’s not the disaster some are making it out to be. Could maybe some of the keys be tweaked further? Sure, but the same was said of Rosalie’s keys. As of now, I believe the only songs she’s singing lower than Rosalie is her solo in the title number and “Marry Me A Little.” Her “Being Alive” keeps getting better. Her “Stop” was most forceful I’ve seen from her tonight, and it was the most defiant I’ve seen her sing her responses to the group’s spoken lines in the first part of the song. She delivers quite the emotional journey in this number.

In the end, what draws me the most to Company in Sondheim's score. I may sound like a broken record but I am thrilled with Joel Fram and David Cullen for ensuring the score sounds absolutely sparkling. I've listened to the London recording a countless number of times, and while I enjoy it, I was worried the sound was a little too tepid and tinny. All of those issues are gone now. The tempos are brisk and breezy, and the orchestra sounds larger than 14 players. Cullen's subtle changes to his orchestrations only improve the overall sound. And you can't beat the exit music in this production.

Updated On: 3/6/20 at 01:33 AM

SouthernCakes said: "Yeah the key thing was quite curious and then just kind of goes away! I was intrigued by the idea of going down this rabbit hole, but it seems like it gets dropped. Did that happen in London?

I was in the front mezz and could hear the stage hands. "

The whole concept is built around Wonderland but I seem to still be thinking what Alice has to do with Bobby, if anything.

Much of Elliot's concept deals with Bobbie feeling trapped and suffocated by her friends. To me, the keys appear to be a possible escape plan, but instead the doors just kept leading to her friends. In act two, notice how Bobbie is dazed and anxious after the nightmare/Barcelona and lands in Susan and Peter's terrace, which is the last place she wants to be. She's constantly trying to escape but keeps finding herself in the same places and in the same rut/routine.

Elliot and Sondheim have both said this production makes it clear that in the final scene she decides to dump her friend group, and this is evident with the way she defies them in the first part of "Being Alive." Once she's finally alone in her apartment, she's at peace, and she made a decision. This production leaves it up to the audience decipher whether her decision is indeed to find someone to love, or maybe she's finally just at peace being alone. When she blows out the final candle, it's clear this Bobbie is finally happy.

Updated On: 3/6/20 at 01:34 PM

blaxx said: "SouthernCakes said: "Yeah the key thing was quite curious and then just kind of goes away! I was intrigued by the idea of going down this rabbit hole, but it seems like it gets dropped. Did that happen in London?

I was in the front mezz and could hear the stage hands. "

The whole concept is built around Wonderland but I seem to still be thinking what Alice has to do with Bobby, if anything."

I think it's more of a stylistic concept; not necessarily a direct correlation between Alice and Bobbie. Unless you consider Tick-Tock and some of the scene transition things in that. <- That wasn't a spoiler, by the way. lol.

ljay889 said: "The Alice references have been there since London. Some of the London critics discuss it here:https://www.whatsonstage.com/london-theatre/news/review-round-up-critics-company-west-end_47840.html.

Elliot might be toning it down a little bit, as she has now cut the oversized purse and bottle of bourbon."

Ah, so it's a choice from the designer - interesting. Well, at least it's much better than Wildhorn's Wonderland. 😁

Her accent in general was actually mentioned a few times in the original thread on this production.

She certainly doesn’t do a Dina accent or any particular accent in this, but I think she naturally pronounces certain syllables with a slight accent. I don’t think it’s intentional, but yes it’s heard every now and then in Company.

Updated On: 3/6/20 at 02:45 PM

dabrams said: "Hey everybody. I have a specific question regarding Lenk's singing for anyone who has seen the show. When I saw her perform on the NYE Sondheim concertit sounded like she was still doing her Dina accent. Was I completely imagining this? Because I haven't seen this particular point discussed anywhere, but it struck me to the point where I had to confirm online that she is in fact American (and I consider myself a fan).I am wondering if the "accent" (or vowel choices or whatever) are still present in this production. Just curious, I've still got tickets for April and I can't wait to see the show!"

I noticed this the other night as well. Odd.

I really wanted to like this, but I have to say I was underwhelmed.