Company Reviews (and beyond)- Page 13

[ACL2006]

Posted: 1/27/22 at 11:27pm

ljay889 said: "It ran just about 2h55m this past Sunday.
I’m glad you enjoyed it!"

Having seen numerous productions of Company, this one definitely felt the longest.  Really my only major issue with this production.

[ljay889]

Posted: 1/27/22 at 11:38pm

I think it’s partially due to the various scene changes and the Alice in Wonderland bits. Also the intro of the club scene adds to the running time. 
The pacing of the book scenes has actually gotten a lot brisker. Some of the pacing dragged in early previews. The act two scene with Peter and Susan is actually shorter in this revival, which is a good thing because the production is long enough. 

[DearTheodosia]

Posted: 1/27/22 at 11:43pm

Sounds like you got great seats at TKTS! Do you mind my asking what they charged for those?

[ACL2006]

Posted: 1/28/22 at 8:30am

They were $92.50 each. Great seats. Only missed a few things that happened on the extreme SR side of the stage.

[fosterfan2]

Posted: 1/28/22 at 10:10am

Slightly OT,but I would love a cast recording of this show!

[wewdie]

Posted: 1/28/22 at 10:39am

Yes yes yes!  Would love a cast recording of this stellar cast!

[AllThatJazz2]

Posted: 2/1/22 at 11:44am

Has anyone sat in J10/J12 in the orchestra, or similar? Trying to decide if those seats are too far over and if we'd miss anything on stage. 

[NicoleMWright2]

Posted: 2/1/22 at 12:43pm

AllThatJazz2 said: "Has anyone sat in J10/J12 in the orchestra, or similar? Trying to decide if those seats are too far over and if we'd miss anything on stage."

I sat in I10 in November and don’t recall missing anything.

[Nolan LuPone]

Posted: 2/1/22 at 1:59pm

On a similar note, how are seats from Row F in the Mezzanine? I'm planning on going for Broadway week. I like sitting in the Mezzanine, but these were the only seats available that I would like. Can you still make out facial expressions and features? I would be sitting in the middle, so I won't miss any staging.

[TBone]

Posted: 2/2/22 at 11:05pm

Nolan LuPone said: "On a similar note, how are seats from Row F in the Mezzanine? I'm planning on going for Broadway week. I like sitting in the Mezzanine, but these were the only seats available that I would like. Can you still make out facial expressions and features? I would be sitting in the middle, so I won't miss any staging."

I sat in E105 for today's matinee and thought the view was fine. I have some vision issues, but was able to make out facial expressions. Even though it did feel a *little* far away, over all I was content with the view/seat - especially for the price. Thought the show was excellent.

Updated On: 2/3/22 at 11:05 PM

[Plexsis]

Posted: 2/6/22 at 10:12am

Saw that Saturday matinee with the full cast and absolutely loved it.  I really hope they end up doing a cast recording because this cast is really fantastic.

[willep]

Posted: 2/8/22 at 8:36pm

I’m at the show tonight and was very surprised to see that they were indeed selling drinks. Even have people walking the aisles selling them.

[Bill Snibson]

Posted: 2/8/22 at 10:20pm

Wow. Thats and this possible lifting of the mask mandate will definitely make things feel that much closer to the good ‘ol days. 

[willep]

Posted: 2/8/22 at 10:57pm

Loved the show. I won the lottery and got Mezzanine B7, terrific seat. I loved having that great view of the orchestra up there as well as the stage. This was my first time seeing Company and now I’m eager to watch it with the traditional casting (going to check out the NPH version), but I thought it worked really well with this casting. Matt Doyle’s “Not Getting Married” was incredible.

There were a couple times when I wished Katrina had a better belt, but overall I loved her performance and I thought her “Being Alive” was terrific.

[Rudy2]

Posted: 2/9/22 at 1:38am

I have now seen the show twice and want to talk a little.

First of all, I can’t imagine anywhere in the theater being as satisfactory as orchestra center. I highly recommend just paying the real money and seeing this from the proper place. 

I think Lenk gives a performance like none other I have seen in leading lady musical theater roles. She wrings every bit of juice out Sondheim and Furth’s very heavy lemon and makes it look easy. Her performances of “Marry Me a Little” and “Being Alive” are exactly what I hunger for - they show me a musical theater performer who can actually portray a *character* and not just sing a role. She is like LuPone in that regard, so they are well matched here. The whole cast, in fact, is deeply impressive. But Lenk is astonishingly moving. It’s one of the most deeply cathartic performances one could ever hope to see, and if you’re more worried about her lung power than the power of emotions she can convey, well, all I can do is smack my face and shake my head.

I really hope she takes home a second Tony for this role. After seeing her, it’s hard to imagine a male Bobby - and I’ve seen them and listened to them, believe me. 

Doyle and Simard are brilliant. Doyle is not only perfect when he sings, but genuinely funny and human - as is Simard. All that gives the production such depth it might have lacked.

Someone has to say it - Terence Archie is absolutely brilliant. You can believe that his Larry deeply loves Joanne, that he knows her darkness and her light equally well. He holds his own on stage and matches LuPone’s energy chromosome for chromosome. Without him “The Ladies Who Lunch” couldn’t work so blazingly well as it does. It’s a lightning bolt moment where all the thunder is earned, but that couldn’t be possible if we didn’t believe the world of the characters. It’s a thankless role that he reminds us is so important. I am now a fan, without question.

One thing that bothers me a great deal about this production is how much hubbub is happening on stage during “Another Hundred People.” Conte sings it so well and fits the character just right, but the stage is too busy. He cannot help but be upstaged, and so much of the profound beauty of the lyric is lost. I understand Elliot wanted to portray the chaos of NYC to frame the song that articulates it, but it subverts the song rather than accentuate it. I find this so disappointing because it’s one of my favorite songs - it’s a definitive New York song, but I’m confident novices to this musical won’t leave remembering it. I don’t envy Conte trying to deal with all that complicated choreography. None of that complicated stage business is necessary because it’s all there in the song. I’m sure this would have been better staged more simply.

I also don’t love the staging for “Have I Got a Guy for You.” I couldn’t really hear any of the words tonight, and I was in the fourth row. It’s awkwardly wrought.

I think the show works even better with a female lead in some regards, but the hilarious finish of “Barcelona” is one example for me when the opposite is true. Of course, Elder is terrific in his role.

I texted my friend (I took him tonight on the eve of his 35th birthday!) this tonight afterward: 

Just think that Sondheim worked on and got to see this updated production.

That he saw Patti doing “Ladies Who Lunch” like that, with cell phones out taking selfies, very modern dance club choreography, EDM in the background, as Joanne laments how old New York is gone:

“The dinosaurs surviving the crunch”

It reminds me that we’re getting older, too.

And how lucky we are to have seen and experienced what we have in our time.

It also makes me want to cling to Patti and those who represent the old guard before they fade away.”

Those are my only thoughts to offer for now.

 


 

 

[joevitus]

Posted: 2/9/22 at 2:05am

ljay889 said: "Katrina now plays the club scene much drunker than I’ve ever seen her do before and it works. Her dialogue with Patti at the end of it is chilling, and it was the most intense interaction I’ve ever seen from them during that moment."

So what happens here? In the traditional version (odd, saying "traditional" with regards to Company), Joanne propositions Bobby, and he reacts with a shocked "But who am I going to take care of?" And Joanne is pleased she got him in touch with his inner need. But how does that work here? Joanne and Bobbi are bisexual in this version? Or has the dialogue been rewritten?

[Rudy2]

Posted: 2/9/22 at 2:13am

joevitus said: "ljay889 said: "Katrina now plays the club scene much drunker than I’ve ever seen her do before and it works. Her dialogue with Patti at the end of it is chilling, and it was the most intense interaction I’ve ever seen from them during that moment."

So what happens here? In the traditional version (odd, saying "traditional" with regards to Company), Joanne propositions Bobby, and he reacts with a shocked "But who am I going to take care of?" And Joanne is pleased she got him in touch with his inner need. But how does that work here? Joanne and Bobbi are bisexual in this version? Or has the dialogue been rewritten?"

 

The dialogue has been rewritten.

Here, Joanne’s husband (Larry) is considerably younger, and very attractive. She understand this, and how the world works. Perhaps in an effort to make what she feels inevitable hurt a little less, she suggests to Bobbi that she “take care” of Larry, noting that she is at the gym on certain afternoons and wouldn’t be home anyway, wink wink.

It works nearly as well as the original dialogue / setup.

[ljay889]

Posted: 2/9/22 at 1:06pm

Rudy2 said: "joevitus said: "ljay889 said: "Katrina now plays the club scene much drunker than I’ve ever seen her do before and it works. Her dialogue with Patti at the end of it is chilling, and it was the most intense interaction I’ve ever seen from them during that moment."

So what happens here? In the traditional version (odd, saying "traditional" with regards to Company), Joanne propositions Bobby, and he reacts with a shocked "But who am I going to take care of?" And Joanne is pleased she got him in touch with his inner need. But how does that work here? Joanne and Bobbi are bisexual in this version? Or has the dialogue been rewritten?"



The dialogue has been rewritten.

Here, Joanne’s husband (Larry) is considerably younger, and very attractive. She understand this, and how the world works. Perhaps in an effort to make what she feels inevitable hurt a little less, she suggests to Bobbi that she “take care” of Larry, noting that she is at the gym on certain afternoons and wouldn’t be home anyway, wink wink.

It works nearly as well as the original dialogue / setup."

Yep, and it also works because they changed next to part to Bobbie saying “but who is going to take care of me?” And Joanne says “see what you just said, you want somebody to take care of you.” It’s the first time Bobbie lets that wall down and admits she wants to be taken care of by someone.  This bit was changed for the 2021 return and I really like it. It’s a very intense interaction now. 

Updated On: 2/9/22 at 01:06 PM

[WldKingdomHM]

Posted: 2/12/22 at 4:18pm

Has anyone sat in the mezz on the sides ? Won the lotto for tomorrow. Just wondering if the first couple of rows are partial view. Thank you 

[MattieIce2018]

Posted: 2/12/22 at 5:19pm

WldKingdomHM said: "Has anyone sat in the mezz on the sides ? Won the lotto for tomorrow. Just wondering if the first couple of rows are partial view. Thank you"

I sat in mezz B26 in December (second seat from the far right aisle) and overall the view was pretty good. There were a few moments where I couldn't see all the action because of the walls of the sets but for what I paid ($59, which was full price for the partial view seats) I wasn't mad.

[Synecdoche2]

Posted: 2/12/22 at 6:55pm

Saw this again today for the third time and it remains absolutely terrific. Lenk sounds fantastic -- she belts the end of Being Alive now and has found the vocal confidence to really show off her gorgeous tone. One of my favorite things about this Company is how dorky and goofy the whole cast is. I think it's the right tone for the material in helping thread the needle between the uber-suave score and the, uh, slightly quaint book, especially with the gender-swapping. How great to have a fun, splashy, top-notch production of this on Broadway.

Updated On: 2/13/22 at 06:55 PM

[inception]

Posted: 2/12/22 at 7:27pm

SophiaPetrillo said: "Does anyone know whether this is a limited or open-ended run?"

 Looks like they have now added tickets for sale through to October 9, 2022.  I just got tickets for my planned late July trip.  Hope the current cast remains in place.

[ATerrifyingAndImposingFigure]

Posted: 2/13/22 at 2:50pm

I saw the show in January and absolutely loved it. Marianne Elliott’s take is a hugely exciting, fresh one that stays totally true to the original version. It won’t replace the classic Company, but this version will definitely remain alongside it. There’s two very minor drawbacks to it which are the gender balance of solos is a bit off compared the original and some of gender changed lyrics aren’t quite as good as how they were originally written. But that’s absolutely nothing to be upset over, it’s the smallest of things and people new to the show won’t bat an eye about them. And what’s the point of focusing on that when the other alterations are so fantastically done. The lead now being a woman really raises the stakes of the piece given the double standards of woman settling down earlier and the biological clock. That alone justifies the retelling, but all the other changes they’ve made only add to it.

The whole thing is stunning to look at. The lighting and the sets are magnificent. While I didn’t think of it until reading someone else’s mention, it’s a lovely touch to have Bobbi traversing the stage like she’s Alice in Wonderland, which they thankfully don’t try and make too on the nose. There’s often a dream like feel to the locations, and I love how Bobbi at times feels boxed in by the smaller sets, nowhere is that more apparent than in the opening. The costumes are all delightful, particularly the red paint suit. Eye catching when they need to be but never too over the top. The whole thing sounded crystal clear, and while far from a dance show, it’s spectacularly choreographed.

The cast is pretty much perfect. Patti LuPone is just as good as she’s been made out to be. She was having a total ball and the audience was eating it up, she got applause just for the lead in line to Ladies Who Lunch, which she quite obviously killed. She’s everything the role should. Hilarious, cool, playful, and the fact that she can still sing that damn good at her age is amazing. It’s her Tony, no one else has a shot. Terence Archie is an excellent partner for her. The Joanne and Larry pairing has always been the show’s most uneven in terms of showcases, but he really does hold his own with her, being incredibly likable and charming, whilst also striking the right balance of loving his wife while not just letting her walk all over him. Their big moment together is brilliant, with her excellently letting her guard down whilst letting him have the spotlight over her for once.

Matt Doyle is easily the male standout. I love the changing of Amy to Jamie, and I love how it’s going to allow both of the standout supporting players to not cancel each other out come time for awards. Cause as of now, the Tony looks to be his, and rightly so as he is an absolute riot in this. His delivery of Not Getting Married Today doesn’t let a single word get lost while also adding in as many laughs as he can get. He’s an endearingly adorable mess and he makes the perfect transition to maturity and joy. Etai Benson is a delight opposite him. He lets you know before Jamie does that he’s be alright with his Paul, being as sweet and loving as can be, and you really do feel for the guy at the end of act one. Like Archie, his role is not the showcase of the couple, but he plays so perfectly opposite Doyle that he never gets lost in the midst of his partner’s rambling.

Jennifer Simard is a total hoot as Sarah. She’s already got a solid role on her hand, but she really does mine it for all the laughs that she can get, her timing is truly stellar. It’s a bit of a shame this version gives her no real solos, though in a way that kind of helps her portrayal that her unique delivery doesn’t have to change when singing. Christopher Sieber is excellent alongside her, being just as funny as he always is while offering a totally lovely rendition of Sorry-Grateful. Bonus points for bringing out few laughs in the number.

The boyfriends are all fantastic. Claybourne Elder wonderfully plays up the stupidity of Andy but doesn’t let him just be a punchline, he really makes you like and feel for him. I hope he’s remembered come Tony time. Bobby Conte is exhilarating as PJ. With all the lyrics and high notes in addition to so much movement doing Another Hundred People, he never gets lost in it. He seems to have really found his footing compared to the tiny desk version. Manu Narayan is a wonderfully sweet Theo. I loved the decision to give him those high harmonies in You Could Drive a Person Crazy, they sounded awesome and it makes up for him not being at the center of Tick Tock. That number’s probably the best altered one in this version. Sondheim clearly knew the original version wasn’t quite fitting for the new versions, and it’s every bit as good as the original.

Christopher Fitzgerald gives one of the most impressive performances of the night. He gets every laugh he can out of David (now with Jenny’s lines), making a standout performance out of a role that’s really not a standout. Nikki Renée Daniels plays a strong straight man against him and fantastic in Not Getting Married Today. Greg Hildreth and Rashidra Scott don’t have much in the way of a showcase, but they’re both very funny and likable, and the switching of lines in their first scene like the other swapped couple is a very smart touch.

As for Katrina Lenk, I think she was mostly excellent. Not anywhere near deserving of some her notices, though not the revelation that some have called her. She’s fantastic in all of her book scenes, and I actually think she delivers a great vocal performance in almost all her solos. There’s two exception, the first is when she starts singing in the title song, which I personally found underwhelming though not bad, and she got stronger as she went along. But then there’s Being Alive, where she’s acting her ass off but it just didn’t sound all that great. Still, her acting chops still make it pull through, and even if the show’s best number wasn’t exactly what I’d want it to be, she’s still one of the best performances I’ve seen in the part, which really is far more difficult of a role then I think a lot of people realize, asking an actor to sing challenging, emotional music whilst getting very little in the way of offstage breaks and having to play an intentionally underwritten character.

Overall it’s really just a lovely production, I wish I could see it again. One of Sondheim’s finest works with thrilling changes and some of the best staging you’ll see in a musical.

[WldKingdomHM]

Posted: 2/13/22 at 7:16pm

Saw the show today. What a set! Katrina was excellent; to every step....hand gesture etc she studied everything. Her act one finale, and the first verse of Being Alive was excellent. 

Patti was Patti. Seemed she is just over the week. Of course when she started to say, "I like to propose a toast" a cell phone went off....

Matt got the biggest ovation of the night. Excellent. 

Seat was in the mezzanine side Row C. Didn't miss a thing. Worth the price of the lotto. 

 

Updated On: 2/13/22 at 07:16 PM

[Bigserver1]

Posted: 2/14/22 at 1:33am

Saw this today. Thought it was exceptional. Loved the way they handled the book changes and the gender swap. Jamie stole act one with not getting married. It seemed to take Patti a while to get warmed up but ladies who lunch was everything advertised. 
 

Really enjoyed Katrina Lenk’s take on Bobbie. She’s a fantastic actress and sang it well. Set design is out of this world. Overall just a great show and a wonderful representation of the original show, while bringing it into a modern time. Was especially impressed with how funny it was, and good the comedic timing was, especially early on.