Company Previews Thread — Page 22

Auggie27 said: "Good memory, KFC1991. Funny, I just watched the wonderful Hepburn-Scofield Delicate Balance again last night, and got into the discussion about the play not working in an update. Tobias and Agnes were conceived as people born in1902-1904; all references to their one percenter life track, and brilliantly. Having them born in 1950-1954 -- my demographic -- is just not remotely possible. But I'm no fan of "timeless" productions of material tethered to the cultural norms of a specific era. Company was decidedly of the moment when it arrived. In its view of emotional resistance to sequential monogamy -- regardless of gender -- It may well prove to be of this moment, too, with a female protagonist. But to me that conceit doesn't rescue the era-straddling problems with Joanne.

Joannewas a brilliant armchair sociologist in 1971, able to zing her generation of women with laser-like accuracy. We welcomed her cynicism because as a trenchant witness, her observations were so spot on. Putting those reactions in her mouth today -- well, she still seems to be singing about her mother's generation, and thus her impromptu wisdom isn't as powerful. Clearly, it bothers few people. But I don't think Sondheim wrote "timeless" perceptions He wrote about an Upper East Side sophisticate who had endured WW II, the rigidity of the Eisenhower years, and post turbulent sixties was stranded, watching zombie-like women who had no careers, time on their hands, and floundered. It's almost misogynistic to characterize women of my generation thus, and again, the song is a critique of an entire sub-strata, not one coterie. In a show about a young woman with agency, it just feels bizarre to me. Others may disagree, but washing the show in timelessness doesn't easily accommodate very specific lyrics about a very specific demographic and their generational plight."

I see no pressing need to "update" A Delicate Balance. But I know many midcentury born people, esp. of Tobias and Agnes's gen. demographic (color, income, education, class), who are quite like them.

Might they have an unlisted standby for Joanne?

ACL2006 said: "Might they have an unlisted standby for Joanne?"

I’ve wondered this but I feel like the info would’ve leaked by now, especially given how active the entire cast is on Instagram.

Auggie27 said:

Joannewas a brilliant armchair sociologist in 1971, able to zing her generation of women with laser-like accuracy. We welcomed her cynicism because as a trenchant witness, her observations were so spot on. Putting those reactions in her mouth today -- well, she still seems to be singing about her mother's generation, and thus her impromptu wisdom isn't as powerful. Clearly, it bothers few people. But I don't think Sondheim wrote "timeless" perceptions He wrote about an Upper East Side sophisticate who had endured WW II, the rigidity of the Eisenhower years, and post turbulent sixties was stranded, watching zombie-like women who had no careers, time on their hands, and floundered. It's almost misogynistic to characterize women of my generation thus, and again, the song is a critique of an entire sub-strata, not one coterie. In a show about a young woman with agency, it just feels bizarre to me. Others may disagree, but washing the show in timelessness doesn't easily accommodate very specific lyrics about a very specific demographic and their generational plight."

I think you make some good points about this song in particular-- although it's my favorite part of the score the lyrics just situate it in 1970.

My reference to having a "timeless" quality in Company means something like: "the need to connect is a timeless concept." It's like Shakespeare; his works are considered timeless but of course if you study them they are very much rooted in the attitudes of the Elizabethan era. But people do modern dress versions of those and most people don't think anything of it. I wonder why? Maybe because people have no living memory of that time whereas they do remember fifty years ago.

My own take: an updated Company can work, I've seen it, but it's better served as a period piece because of some of the things you bring up.

binau said: "JasonC3 said: "I wonder how much the infrequent theatergoer or first-time visitor to Company will notice what those of us who have seen multiple productions might quibble about.

Honestly for me, unless the production is rally bad, I'm just grateful for every chance I get to see a Sondheim show with a great cast."

We should never underestimate how little casual theatre goers care about the details sometimes. Yesterday I met a New York gay at a party, of course my first question is always “have you seen Bernadette Peters on stage” and their response “yes I loved her in War Paint”."

It’s often shocking how even theatre BUFFS have large gaps of knowledge- I know someone who was a theatre major in college (and still loves theatre but very rarely gets to attend) and had never heard of Audra McDonald or Sutton Foster.

Caught it last night and think this Company is a mixed bag.

Yes Sondheim's music and lyrics are brilliant but I maintain that Company is a somewhat problematic musical at its core.

Problems inherent in the piece whether played by a male or female is that Bobbie is not that interesting a character. Not a character you really care about. I saw the original back in the 70's and had trouble really caring for that Bobby too! I've seen other revivals and there too the character of Bobby is a problem.

So Katrina, who plays Bobbie without warmth like her male predecessors left me cold not really caring if she stayed single or got married.

Matt Doyle steals the evening as a "bride" petrified at the idea of getting married. His character you care about. That is what is missing for Bobby. Clayborne Elder was wonderful as Andy. Katrina's eye rolling at his stories made me care even less about Bobbie aka Bobby.



There are some really creative directorial choices. The ides of being in prison in lit claustrophobic panels of apartments. The number 35 not only in the balloons in the birthday but every townhouse having that number. Clever. The letters C O M P A N Y surrounding the actors like a crowded claustrophobic New York City.

Missing for me was the orgasmic Tic Toc of Donna McKechnie. I was looking forward to an orgasmic male dancer doing Tic Toc but it was replaced by a misguided drone of unhappy housewives doing laundry and having babies during a clock that ticked away.

But worst of all was the audience! So in love with Sondheim (as I am) and so in love with Lupone (as I am) but they were on their feet and howling before anyone said or sung a word. ("It's Company!!.... It's Lupone" To those people (and you know who you are) it didn't really matter what was on that stage as long it was Lupone and Company. The people were having fangasms.

These overly enthusiastic hurrahs of fangasm often knocked me out of the proceedings.

Updated On: 11/23/21 at 11:54 AM

I keep hearing that the Tick Tock scene is making the show too long at nearly 3 hours' running time. Is this true,and does anyone think they'll end up cutting it in order to trim the show and tighten it up?

goldenboy said: "Missing for me was the orgasmic Tic Toc of Donnie McKechnie. I was looking forward to an orgasmic male dancer doing Tic Toc but it was replaced by a misguided drone of unhappy housewives doing laundry and having babies during a clock that ticked away."

I wondered what they were going to do with Tic Tock. I'd heard it would relate to the biological clock, but I was hoping it would be a more interesting (and abstract) take than what it sounds like they did.

If Lenk keeps "singing" like she did the night I saw the show, I think the critics will destroy her. She has no "mix" between chest and head voice and she switches a lot. You can act your wig off but if you go flat a lot and can't sustain a musical note, you are in big trouble. One TONY year away and we might have gotten Stephanie Block who can sing. (I love Lenk in her 2 previous Broadway outings but this role is a bad match for her talents).

Was anybody at the show today? I’m seeing a tweet that seems to say that the rain is back in “Marry Me A Little.” I would love to know if it’s back. It was only used in the last few 2020 previews, I never got to see it.

Yay, glad to hear the rain is back! I can’t wait to see it.


I think Lenk is charming in act 1, but it seems like a conscious decision in act 2 to portray her Bobbie as anxious and disoriented as she gets more frustrated with her friend group, drinks more, and gets closer to making a decision in “Being Alive.” Lenk isn’t the warmest performer in general and I think Elliot’s vision is adding to the “coldness.”

As you mentioned her “Being Alive” is beautiful, and I think it plays best from the front orchestra. Watching her sing the “introspective” verse of the song on her knees in tears is really touching up close.

Updated On: 11/25/21 at 03:08 PM

Has anyone sat in the rear mezzanine and can tell me how good those seats are for this particular show? I'm currently trying to buy something from todaytix and wonder if I should get those rear mezz seats or something closer up.