Company Previews Thread- Page 30

[Rudy2]

Posted: 12/7/21 at 11:42pm

binau said: "What a roller coaster. As soon as Patti started calling out I was getting a little nervous and the deadline article was like a stab to the heart. No disrespect to Patti’s understudy of course but there is only one Patti LuPone and given the events of last week it was only more important that Patti was there for me. I held onto my tickets and planned to go just in case and shockingly this paid off. The box office confirmed Patti was in but I still felt uneasy at dinner right until the time got closer and indeed the understudy board was blank. It was particularly annoying that someone at the bar then appeared to say to a customer Patti was out that night. A race to the board once more and check with an usher to confirm Patti was in. Sorry but people need to really need to make sure they know what they are speaking about, it’s quite frustrating.


I saw the west end version 3 or 4 times, including the very special and high energy final performance that if I recall Sondheim was in the audience for. I thought it was almost perfect, but I have been taught how to see again. As soon as Katrina walked out and I saw how much information she was conveying in that opening scene with her facial expressions I knew something was very different. Her acting in the role is just next level - she is mining every scene for the subtext with her face and eyes. It makes her Bobbi seem much more complex than Craig. There is this undertone of emotion and jadedness in her performance, that maybe she isn’t quite as happy as she seems to her friends, and it makes her performance so much more interesting to me than Craig’s.

Her Bobbi is much cooler, much sexier and much more ‘New York’ to me. She is too attractive for her own good, intimidatingly so. and it’s very very clear how and why she has power and is able to date some of those very very attractive men. In comparison, Craig was much more kind of goofy warmer personality - someone you feel you just want to be her friend but not a force. It sounds like some people might want the kind of fuzzy warm Bobbi Craig was and I can see why it might have its fans but I will take the emotionally complex version any day of the week in a Sondheim show.

Of course I was worried about the singing after the reports here but I didn’t think much of Craig’s singing anyway and while at her peak maybe Craig’s voice was less thin (I also saw her when she also might have been sick and it was considerably worse), Craig’s voice was sweet and serviceable but boring. Katrina acts the hell out of those songs and there is just enough interestingness in the timbre of her voice that it’s just not a boring sweet voice and there is some vocal acting going on. Someone is Waiting was better than the clips I’ve seen and Marry Me A Little was surprisingly powerful - the rain heightened it and made it a show stopper. A great improvement to mix things up a bit as the west end staging for the three songs always felt a bit too samesy. Maybe she also just happened to be in good voice too of course.

In general the production is the same blueprint but I am impressed at how they have not just decided to trot out the working formula and indeed make so many minor adjustments or enhancements in the set and transitions to improve things. I will admit I was a bit scared for Katrina when she went through the ‘trap door’ thing though and I hope there are safety redundancy systems to prevent accidents! The effect is that it’s like they’ve turned the show from Blu-Ray to 4K resolution. Of course the biggest change is the complete restaging of Another Hundred People, which just didn’t work in London where it was a literal subway tube with cringe dancing. I don’t know if it completely works now either but it’s so much better as is the actor who sings the song and plays the scene. In London he felt like a creep and those vocals were annoying but here the guy’s look is EXACTLY the right one and those ass lines now work.

In general every cast member equals or betters in both the singing and acting of the west end cast. It’s funny despite Katrina being a force ironically she also fades out because the cast around her are so strong. I want to call out Jennifer Simard in particular who should be nominated for a Tony and in the future people won’t understand why in such a small role unless they were there. Those line deliveries and physical humour. Just so so funny.

I want to acknowledge I did think Jonathan Bailey had a bit of charm and sparkle that might have added something here but Matt Doyle is perhaps more technically there with the singing. Patti’s addition to the Tick Tock scene is new right??? Or at least, I don’t remember it the same way - maybe a new costume or something. Speaking of Patti, it’s clear she is much more known in NYC than London and the audience entrance applause was so exciting. She always gave 100% in London and does here too. She was already perfection and is giving a very similar performance in my opinion so I can’t say she has bettered herself but that’s fine. It’s hard to know how she could get better. In London though without quite the same strong cast I would say she stood out even more too but that’s ok. She should win the Tony and I hope they can record some of her dialogue because some of those bitchy line readings “he’s not who you’d call” feel iconic and it’s like the role was written for her. In fact we deserve PS classics to just record the whole damn scene. PLEASE.


I LOVED “Being Alive” and was not disappointed at all even after following Patti.I’m glad that crying is coming back because despite what people used to say on this board 10 years ago of course I think the heightened emotions if done tastefully can heighten the scene. The whole scene seems perfectly tailored for Katrina’s abilities. Making it more introspective rather than trying to have her belt it out where she might not have had the voice.

Last, not to get too personal but the show felt like a celebration of how much I love New York and Sondheim, and how much it has changed my life. 14 years ago I heard “Epiphany” for the first time not knowing anything about Sondheim or much about musicals but simply being in awe at how the song transitions from the angry rage to the devastating “I’ll neverrr, seeeee Joannasaaa” - for the first time I realised music could be used to reflect the emotion of a character. It started this addiction, this ‘passion’.

I had no idea that moment would lead me to find so many other moments in so many, many shows - much of them Sondheim. It was those “your eyes, George” lines that made me fall in love with Bernadette’s voice and it just kept going and going.

Over the years I have had to chase that ‘high’ in New York and saw my first Broadway show, Sondheim on Sondheim. For the next ten years I feel so privileged to have seen Laurents’ WSS, Donna in Whistle, CZJ and Lansbury; Bernadette and Stritch in Night Music, Bernadette and Maxwell in Follies, Jake G in Sunday in the Park.

It is a privilege to now see Company here, the last Sondheim show he ever saw on Broadway, in this perfect production at this perfect time in my life. And also to celebrate this amazing, amazing city that is unlike any place I’ve ever been to in the whole world. And one that speaks to me now more than ever. In 2010 in New York City I was spending every cent I earned to chase the rush of this city - how amazing to see Bernadette in a Sondheim show then open up Grindr and be able to hook up with a Broadway ensemble member. It’s so New York and these experiences changed my life.

Now I sit in the audience, older with a 35 year old partner that doesn’t know anything about musicals who ‘ruins my sleep’ and ‘puts me through hell’ and makes me alive and the shows just keep speaking to me. In the backdrop of an awful global pandemic. I could cry at how much this city and Sondheim means to me and what it’s like to be back - and it’s so weird that no one really gets it except for a small group of people on this board. Even people on this board perhaps don’t seem to understand the pure ecstasy of what it was and is like to hear Bernadette sing and act that final verse of In Buddy’s Eyes.

What a time to be alive. I feel so lucky. Don’t take this city or Broadway for granted there is no where else. It’s my favourite place in the world. People think I’m obsessed with musicals but they just don’t understand the magic that is there. I love that we all here do. We are so lucky."

What a beautiful, informative post.

You assuaged some of my fears about the production. Thank you!

I can relate acutely to your 2010; it was quite a theatergoing year for me, too, as well as a galvanizing year personally, which is probably not a coincidence!

Now I'm nearing 35, and can relate to Joanne’s jadedness in a way that completely eluded me when I first discovered “The Ladies Who Lunch” as a kid. Sondheim’s observations are like that - more treasures reveal themselves with time.

His death hurts so much because, as long as he was still here, there was the chance that he might enthrall us in new and unexpected ways. Now, aside from what is revealed of what he was working on, we have to accept that an era has passed - and we have gotten older, too. Sigh.

Just the thought of it makes me want to treasure Patti, Bernadette and their small company of peers who are still working that much more. 

[ljay889]

Posted: 12/8/21 at 12:06am

Rudy2 said: "I have been excited to see this show for months - just the thought of this particularly 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!"

I prefer sitting up close for this production, because I enjoy seeing the intricacy in the acting, especially from Lenk. You will get a better view of the set from mid orchestra or the front mezzanine.

I will also say the London cast album is pretty much lifeless compared to this production. The performances are not only better, but the overall sound of the score is fuller and livelier. There are also several changes to the orchestrations for Broadway, and they are delightful. 

Updated On: 12/8/21 at 12:06 AM

[ljay889]

Posted: 12/8/21 at 12:07am

.

[Rudy2]

Posted: 12/8/21 at 12:11am

Thank you! ^^

[Rudy2]

Posted: 12/8/21 at 1:01am

Also, the official website for the show says we have up through January 17 to exchange or request a refund, but Broadway Box says the final day is February 28.

Does anyone know which date is or is more likely to be accurate?

I’m planning to see the show during the last two weeks of January. 

[orlikethecolorpurple]

Posted: 12/8/21 at 1:27am

I'd avoid the sides. I was in second row 3 seats in from the aisle and missed a few moments of Bobbie in her kitchen (including her final bit at the end which I could hear but not see). 

I loved the design and direction. I thought it consistently felt fresh and exciting. The one exception being the nightclub scene where I do wholeheartedly agree that Patti's blocking (or lack thereof) works against an incredible performance. I was sitting house left and questioned how Marianne Elliott decided to shaft half the audience by keeping Patti facing house right for the majority of the scene AND song. 

[Rudy2]

Posted: 12/8/21 at 1:34am

orlikethecolorpurple said: "I'd avoid the sides. I was in second row 3 seats in from the aisle and missed a few moments of Bobbie in her kitchen (including her final bit at the end which I could hear but not see).

I loved the design and direction. I thought it consistently felt fresh and exciting. The one exception being the nightclub scene where I do wholeheartedly agree that Patti's blocking (or lack thereof) works against an incredible performance. I was sitting house left and questioned how Marianne Elliott decided to shaft half the audience by keeping Patti facing house right for the majority of the scene AND song."

I wonder if it’s possible this will be changed post-previews. If several people here are vocal about this staging being poor, it must have come to Elliot’s attention at this point.

Thank you for sharing!

[JaglinSays]

Posted: 12/8/21 at 1:59am

I found Lenk mannered and miscast.  She has an hauteur and aloofness that work against the part.  I never believed she would be interested in the other couples, who look like they wandered in from Secaucus….

[JaglinSays]

Posted: 12/8/21 at 1:59am

I found Lenk mannered and miscast.  She has an hauteur and aloofness that work against the part.  I never believed she would be interested in the other couples, who look like they wandered in from Secaucus….

[Miles2Go2]

Posted: 12/8/21 at 2:02am

I believe Patti’s recent absences were due to chronic back problems. I don’t get to see the show until early January, but does anyone think this particular bit of staging could be a matter of necessity to spare Patti from having to worry about fighting her back issues at some performances while also giving an iconic performance? Or a way to allow her not to overstrain her back so to make it through repeated performances and her entire run? As someone who has battled sporadic back pain for years, I know how debilitating and unpredictable it can be. 

Updated On: 12/8/21 at 02:02 AM

[Rudy2]

Posted: 12/8/21 at 2:12am

^^ If you’re right about this, it’s worth it to see her play this role, which is a gift we shouldn’t overlook, especially now

Can anyone share what the blocking was like for the London production?

[BJR]

Posted: 12/8/21 at 7:48am

Miles2Go2 said: "I believe Patti’s recent absences were due to chronic back problems. I don’t get to see the show until early January, but does anyone think this particular bit of staging could be a matter of necessity to spare Patti from having to worry about fighting her back issues at some performances while also giving an iconic performance? Or a way to allow her not to overstrain her back so to make it through repeated performances and her entire run? As someone who has battled sporadic back pain for years, I know how debilitating and unpredictable it can be."

I suppose it's not impossible. I recall observing how War Paint staged around her being in obvious pain before her hip surgery. (She was often seated on a wagon and pushed out, as opposed to walking on and sitting.)

But also, she walks all over the stage the throughout the night, and has plenty of downtime.

I'll also note a friend who saw the show last night remarked to me how incredible and daring it was she does the entire scene and song sitting. I completely agree.

[Dylan Smith4]

Posted: 12/8/21 at 8:24am

JaglinSays said: "I found Lenk mannered and miscast. She has an hauteur and aloofness that work against the part. I never believed she would be interested in the other couples, who look like they wandered in from Secaucus…."

I have not heard the best of things about Katrina Lenk as Bobbie. I think she is a great actress (I mean she's a Tony winner), but this role was not meant for her. Personally, I wish Marianne Elliott brought over Rosalie Craig from London. I mean, she was the FIRST EVER female Bobbie. Plus, people have been wanting her to cross the pond and perform on Broadway. I hope equity and producers don't pull another stunt as they did with Elaine Paige. 

[binau]

Posted: 12/8/21 at 8:26am

Rudy2 said: "^^ If you’re right about this, it’s worth it to see her play this role, which is a gift we shouldn’t overlook, especially now

Can anyone share what the blocking was like for the London production?"

It was similarly seated. My personal take is it’s actually a dramatic choice because the director, who is a director of plays mainly not musicals, wanted to keep more honesty in the scene and do we really think Patti’s Joanne who screams seated for alcohol (one of my fav bits in terms of humour en she gets it!) and who loves to power play (see: her threatening to leave her husband) would be so desperate to stand to sell the number for us? No Patti’s Joanne demands that we come to her and meet her where she wants us to. Standing centre stage and pulling every trick to get the audience to give her attention would seem to be the kind of thing that the ‘Ladies Who Lunch’ do, not Patti’s Joanne. 

[ljay889]

Posted: 12/8/21 at 9:57am

I completely agree. We’ve already seen Patti sing this number standing center stage and tossing her drink into the audience. I feel having her seated keeps her focused and in the moment. As much as I adore Patti, sometimes her mannerisms can get the best of her, but Marianne’s direction of the scene and song is extremely sharp. 

[Auggie27]

Posted: 12/8/21 at 10:01am

I saw the original B'way cast (albeit Jane Russell for Stritch by that point) and the first national (end) with Julie Wilson as Joanne. Joanne always played the scene seated in the Prince staging. 

[joevitus]

Posted: 12/8/21 at 10:18am

Auggie27 said: "I saw the original B'way cast (albeit Jane Russell for Stritch by that point) and the first national (end) with Julie Wilson as Joanne. Joanne always played the scene seated in the Prince staging."

Did she not even stand for "Everybody rise!"?

[Auggie27]

Posted: 12/8/21 at 10:39am

If memory serves, Joanne never rose. The 4th wall is sufficiently broken by the song itself. To rise invites the audience to participate. I don't recall that in the staging. The number pulls Joanne out of the scene with Robert, but isn't "to" the audience per se. To my thinking it's ruminative -- a set of observations that annotate the scene and moment -- not an actual entreaty to a seated audience in X theater.  Others may disagree but certainly Hal Prince was not fond of such concert-like behavior in his characters. 

Updated On: 12/8/21 at 10:39 AM

[StylishCynic]

Posted: 12/8/21 at 11:32am

I'm also of the camp that agrees that the seated staging of TLWL is brilliant.

I'm not sure if it's an intentional homage or not, but we should also remember that in the Original Broadway Cast of Follies Phyllis sang "Could I Leave You?" completely seated to great effect.

There are two types of power: the type that's loud and boastful, and the type that draws you in. It says a lot about the character that she commands the entire scene without moving from her seat. 

Did Stritch stand at all in the OBC? I thought she was also seated, but I could be misremembering. I've only seen the OBC reunion footage. 

[Auggie27]

Posted: 12/8/21 at 12:04pm

Alexis Smith was indeed seated for the entire "Could I Leave You?" I saw it twice.

Joanne doesn't need to rise. Her power is in the cynical entreaty to a sub-set of her generation, which is delivered from a woman sitting at a cocktail table, on a night out. I'd argue that the song works because of the incongruity of casual occasion vs gravity of sociological rumination. 

Updated On: 12/8/21 at 12:04 PM

[Rudy2]

Posted: 12/8/21 at 12:56pm

Can anyone explain for us who has seen the production how the dialogue after “Ladies Who Lunch” is handled?

I found it so effective how Joanne drunkenly propositions Bobby and says she’ll “take care” of him. It’s infinitely touching on multiple levels, and really justifies “Being Alive.”

How does it vary with Bobbie instead of Bobby without sacrificing dramatic satisfaction?

[ashley0139]

Posted: 12/8/21 at 1:38pm

SPOILERS

 

Instead of Joanne propositioning Bobby/ie, she offers Larry to Bobbie while Joanne is at the gym on Tuesday.

"You can take care of him."

"And who is going to take care of me?"

"Did you hear what you just said? Did you hear what you just said, kiddo?"

"I didn't mean it like that."

"You just said you want someone to take care of you."

etc.

It definitely, to me, effectively brings her to the "what do you get" moment, but in a different way.

Hope that helps.

[Rudy2]

Posted: 12/8/21 at 2:25pm

ashley0139 said: "SPOILERS



Instead of Joanne propositioning Bobby/ie, she offers Larry to Bobbie while Joanne is at the gym on Tuesday.

"You can take care of him."

"And who is going to take care of me?"

"Did you hear what you just said? Did you hear what you just said, kiddo?"

"I didn't mean it like that."

"You just said you want someone to take care of you."

etc.

It definitely, to me, effectively brings her to the "what do you get" moment, but in a different way.

Hope that helps."

Thank you! It does. I like it, too. It feels modern, and fitting, and in keeping with the characters.

For a show that Sondheim and company continually referred to as being about “nothing,” I beg to differ, even though I know they were speaking with a slight wink when they said that. That it could be adapted so well for the 2020s is proof positive.

[ashley0139]

Posted: 12/8/21 at 2:40pm

I do need to share my biggest nit pick with the show - why is the flight attendant dressed like a captain? He is wearing captain's stripes. We don't need him wearing a captain's uniform to signify he works on planes. Flight attendants don't wear stripes. I found that very strange and it actually took me out of it. When a woman plays the role, she does not wear a captain's uniform.

[BroadwayJeffrey]

Posted: 12/8/21 at 3:49pm

Flight Attendants do have stripes on their uniforms. I am one. Traditionally most airlines Flight Attendants have two stripes on their jackets. First Officers have three, and Captains have four.