Company Previews Thread — Page 29

Binau, your post also moved me greatly. I came to an appreciation of stage musicals, Broadway, and Sondheim relatively late in life compared to many. I saw my first professional production/touring show (A Chorus Line) in my late twenties (early 1990s). I had some peripheral knowledge of Sondheim from Barbra’s stunning 1985 The Broadway Album and his work on the 1990 Dick Tracy movie. Of course, I knew Send in the Clowns before that even if I had no idea who wrote it. I saw my first shows in NYC in 2010, but I didn’t see a Sondheim show until the most recent off-Broadway revival of Sweeney Todd. Other than that, the other Sondheim stage productions I’ve seen is a local 2019 production of Into The Woods and seeing the latest Broadway revival of West Side Story twice. But news of Sondheim’s passing hit me like a gut punch. Within days of his death, I booked myself for a two night trip to NYC in January to see both Assassins and Company. I simply cannot wait

Updated On: 12/6/21 at 08:53 PM

It was supposed to be Patti's revival of GYPSY that was to be filmed, in early 09. But the Great Recession brought an early close, a couple weeks before they were to film it. (Imelda's, then, got lucky.)

I think they’d want to preserve the final Broadway revival Sondheim was involved in, he was also very proud of the production.
But first, let’s get a cast recording. The London album is mostly mediocre. I want to hear this new cast and the updated orchestrations.

I have seen hundreds of shows, and I very rarely get “that feeling” during a show. The chills, the absolute focus on the show, knowing you are seeing something that is changing your life. I got it with grey gardens, and ragtime, and come from away, and this past Saturday night, I got it with this version of company. I saw the 2007 (?) revival and loved it, but it didn’t affect me deeply. This version did.


Katrina is absolutely revelatory and there are very few performances in my life I have enjoyed more. I have heard the criticisms about her voice and, while she’s not a traditional belter, I could not have possibly cared less. Her acting was out of this world and made me feel every moment of those songs. Especially Being Alive. I absolutely adored her version so much. Her last note was actually belted and sounded amazing, but that’s really beside the point. I do not understand the criticism and am glad there are others on this board who feel the same.


Patti was of course incredible and I am so, so glad she was back in for the Saturday night show. The sold out audience ate up every moment. I honestly loved every moment of the whole show and hope to see it again when I come back in February for music man, but I just cannot stop thinking about Katrina’s performance.

**** SPOILERS *****





Did you miss the entire Alice in Wonderland concept? The boxes are a direct reference to that concept. The combination of the apartments we all live in, the compartments of Bobbi’s mind and the locked doors Bobbi opens made, for me, a physical production that was a revelation. Did you notice “35” was everywhere? These were not meant to be wholly realistic environments.

nycward said: "I found The Ladies Who Lunch unmotivated on that cramped set and Patti was stuck on a swivel chair and played a huge part of the number facing Bobbie. She couldn't come downstage off of that box and deliver a true 11 o'clock number? "

i think you make good points here re the claustrophobia of the production and i think i'd disagree in that i think it was intentional and more importantly, i think it worked at end of day. but i had the same thought re Ladies Who Lunch. I was surprised Patti stayed seated the entire number, and was sure that as Joanne loses her cool in the number, she'd rise (sorry) and let loose a bit. Just was odd and underwhelming staging.

Yes. I did notice the Alice In Wonderland imagery as well as the rest of the childhood imagery from the Poster to the Side By Side children Birthday party. I'm just not sure what that brings to the fears of adult, loneliness which is the foundation of this musical. Also, thinking back on the Ladies Who Lunch, Patti sits on a swivel chair for the entire song mostly facing audience right (I was audience left) and never gets up.

"EVERBODY SIT.....SIT....SIT....SIIIIIIIIIIIIIIT!

Not sure why she tolerated a staging that never supported her star turn.

Mitch101 said: "**** SPOILERS *****





Did you miss the entire Alice in Wonderland concept? The boxes are a direct reference to that concept. The combination of the apartments we all live in, the compartments of Bobbi’s mind and the locked doors Bobbi opens made, for me, a physical production that was a revelation. Did you notice “35” was everywhere? These were not meant to be wholly realistic environments."

For those of us who won't get a chance to see it, can you explain the Alice in Wonderland concept and how that relates to making the set into a series of small, cramped spaces?

nycward said: "The problem for me was the staging of this production where literally I found that Ms. Elliot "boxed" herself in with this concept. Pun intended. I found the physical production so limiting because of these small cramped spaces as if she was stuck with this set and decided to make the best of it. If this was conceived at a small theatre in London, like the Menier Chocolate Factory I could understand it, but with the resources at hand at the National I felt the concept limited the musicality of the evening."

Tell me you have a miopic view of successful musical staging without telling me you have a miopic view of successful musical staging. If the concept went over your head, just say that. It's not a stretch to understand that sometimes the most painful loneliness is when one is in a room/life full of people. Which is intrinsic in the piece as-written and amplified by Elliott's conscious decisions to crowd Katrina both physically and mentally through the course of the show. The only moments she has the freedom of the full stage are in her big numbers, where she's most free with her thoughts and emotions.

You complain about the lack of choreography (and assume it's a lack of ability in one of the most talented casts on Broadway at the moment)...did you know you were purchasing a ticket to see Sondheim's Company or did you think American In Paris had moved into the Jacobs over shutdown?

Updated On: 12/7/21 at 12:16 PM

JDonaghy4 said: "OhHiii said: "nycward said: "The problem for me was the staging of this production where literally I found that Ms. Elliot "boxed" herself in with this concept. Pun intended. I found the physical production so limiting because of these small cramped spaces as if she was stuck with this set and decided to make the best of it. If this was conceived at a small theatre in London, like the Menier Chocolate Factory I could understand it, but with the resources at hand at the National I felt the concept limited the musicality of the evening."

Tell me you have a miopic view of successful musical staging without telling me you have a miopic view of successful musical staging. If the concept went over your head, just say that. It's not a stretch to understand that sometimes the most painful loneliness is when one is in a room/life full of people. Which is intrinsic in the piece as-written and amplified by Elliott's conscious decisions to crowd Katrina both physically and mentally through the course of the show. The only moments she has the freedom of the full stage are in her big numbers, where she's most free with her thoughts and emotions.

You complain about the lack of choreography (and assume it's a lack of ability in one of the most talented casts on Broadway at the moment)...did you know you were purchasing a ticket to see Sondheim's Company or did you think American In Paris had moved into the Jacobs over shutdown?

"

Tell me you are obnoxious and lack the capacity to respect people with differing views..."

Because this board is such a bastion of respect for others' opinions. K.

It amazes me how different the reception to this production is on the other board. I have a feeling the reviews will be closer to the reaction on here.

I have been excited to see this show for months - just the thought of this subject matter marking my first time at a Broadway show post-2020 was already an overwhelming prospect. Now, after Sondheim’s passing, it has a whole second level of importance.

I’m sure many can relate. This is just the show for the moment.


However, after reading some of the things people have said about the staging, I’m beginning to worry about whether this is worth a full price orchestra ticket. I’m bringing the man I love, and I know he’ll be shocked and spun out by this score being handled well…as long as the staging doesn’t make the cake fail to rise.

Also listened to a couple of selections from the 2018 London recording and was very dismayed at how abysmally cold and technical some of the performances (from actors who are not in this Broadway iteration, granted) are. The marks get hit, but sans gravitas or grit, which is precisely what I loathe about so much modern musical theater.

If I bring my guy to see this show, I want it to be an experience he will never get, that justifies the ticket price - certainly in his eyes. He just doesn’t go to Broadway shows, or musicals, or really know Sondheim. It’s so nice to have someone to bring to a show who will genuinely be surprised!

Do any of you know who have seen this in previews compare it favorably to the 2018 recording or production, if you got to see it in London?

Also, are seats in the first few rows too close for how this production looks, at least as of now?

Any advice would be much appreciated. I hate that I’m starting to have reservations about a show I am so excited to see that I have felt like I’m in high school again as I dream about the potential euphoria I’ll feel drinking it all in.

Sorry to be so scattered on this one!

Updated On: 12/8/21 at 11:27 PM