Company Reviews (and beyond) — Page 5

PianoMann said: "The biggest discrepancy between Shaw's and Green's reviews is that Shaw meets and critiques this production on its own terms, while Green seems to judge this work predominantly based on its relationship to the original. It's fine to be an originalist – it was a delight revisiting the Kennedy Center "Follies" thread recently and reliving the debates about the original versus revival staging of the ghosts, etc. – but not when the original concept and staging becomes a barrier to attending to what is on stage now. That does a disservice to any production."

Say it louder.

The beauty of reviews is each critic brings their own perspective. If you go see POWER OF THE DOG as a fan of the source material and you take issue with the way Jane Campion chose to adapt it, that's going to factor into your review; if you aren't familiar with the novel or don't like it, that will factor into your opinion. This is why a range of opinions is good and helpful.

It's also an important question of any revival, especially for a show as well-known as COMPANY where much of the NYT readership has seen one of the previous revivals: how does a show written in 1970 resonate today?

I would love to know what a person who has never seen or heard COMPANY thinks of this production, because I think it would be pretty weird and confusing if you don't know the context going in.

Updated On: 12/10/21 at 01:14 PM

I had never seen a production of Company before I went on November 15th. I was familiar with some of the songs out of context, mainly "Ladies Who Lunch" and "Being Alive," but, as far as the plot (or lack thereof) was concerned, I went in blind, and I was very confused by the timeline of the vignettes. Were they in chronological order? Were they flashbacks? Did it matter? The fact that Bobbie kept repeating her 35th birthday didn't help matters. I spent all of Act 1 trying to figure out what the f*ck was going on, so that obviously had an effect on my overall reaction to it. I had other issues with the production, as well, and it just didn't speak to me. There were moments of brilliance, but on the whole, I found it non-cohesive.

In the moment, I felt dumb for not quite understanding what I was seeing on stage. Did I just not "get" it? Maybe, but that doesn't make my opinion of it any less relevant, since I'm certain I'm not the only one who feels this way.

However, the experience of being there on the first night back, with Sondheim in attendance, was unforgettable, and I feel very fortunate to have been there.

TaffyDavenport said: "I had never seen a production ofCompanybefore I went on November 15th. I was familiar with some of the songs out of context, mainly "Ladies Who Lunch" and "Being Alive," but, as far as the plot (or lack thereof) was concerned, I went in blind, and I was very confused by the timeline of the vignettes. Were they in chronological order? Were they flashbacks? Did it matter? The fact that Bobbie kept repeating her 35th birthday didn't help matters. I spent all of Act 1 trying to figure out what the f*ck was going on, so that obviously had an effect on my overall reaction to it. I had other issues with the production, as well, and it just didn't speak to me. There were moments of brilliance, but on the whole, I found it non-cohesive.

In the moment, I felt dumb for not quite understanding what I was seeing on stage. Did I just not "get" it? Maybe, but that doesn't make my opinion of it any less relevant, since I'm certain I'm not the only one who feels this way.

However, the experience of being there on the first night back, with Sondheim in attendance, was unforgettable, and I feel very fortunate to have been there.



"

Just to be clear, the questions in the above post are rhetorical, and I don't want anyone who thinks they know better to try to explain the show to me.

RippedMan said: "No offense to them, but they clearly don't know what 2021 audiences want. I get they want an actor who sings. But you know what? There are def. actors in NYC who can do both. And do both well."

So I disagree re Katina's singing, which i thought was perfect and moving. But assuming I agreed with you that she can't sing the score, are you really suggesting that Elliott and Sondheim and the production team should ignore what they think is best for the show, and instead cast "what 2021 audiences want"--as if this is a monolithic, obvious thing?

By that logic, wouldn't they not do this production AT ALL, and just focus on pop music revues and adaptations of every single hit movie ever made?

I understand not liking what Lenk is doing, but I don;t understand the hostility to her/those who cast her, as if they owe you someone or something else.

Georgeanddot2 said: "TaffyDavenport said: "TaffyDavenport said: "I had never seen a production ofCompanybefore I went on November 15th. I was familiar with some of the songs out of context, mainly "Ladies Who Lunch" and "Being Alive," but, as far as the plot (or lack thereof) was concerned, I went in blind, and I was very confused by the timeline of the vignettes. Were they in chronological order? Were they flashbacks? Did it matter? The fact that Bobbie kept repeating her 35th birthday didn't help matters. I spent all of Act 1 trying to figure out what the f*ck was going on, so that obviously had an effect on my overall reaction to it. I had other issues with the production, as well, and it just didn't speak to me. There were moments of brilliance, but on the whole, I found it non-cohesive.

In the moment, I felt dumb for not quite understanding what I was seeing on stage. Did I just not "get" it? Maybe, but that doesn't make my opinion of it any less relevant, since I'm certain I'm not the only one who feels this way.

However, the experience of being there on the first night back, with Sondheim in attendance, was unforgettable, and I feel very fortunate to have been there.



"

Just to be clear, the questions in the above post are rhetorical, and I don't want anyone who thinks they know better to try to explain the show to me."

Just so you know, every production of Company is like this. I don't know why everyone is acting like this is the first production of Company to have this kind of surreal jumping through time. This is not a flaw of this particular production."

I'm aware of this now, but I also had other issues related to this production on its own, apart from the content. Primarily, I was responding to Ermegarde's post about how a first-timer would react to the show.

JDonaghy4 said: "RippedMan said: "No offense to them, but they clearly don't know what 2021 audiences want. I get they want an actor who sings. But you know what? There are def. actors in NYC who can do both. And do both well."

So I disagree re Katina's singing, which i thought was perfect and moving. But assuming I agreed with you that she can't sing the score, are you really suggesting that Elliott and Sondheim and the production team should ignore what they think is best for the show, and instead cast "what 2021 audiences want"--as if this is a monolithic, obvious thing?

By that logic, wouldn't they not do this production AT ALL, and just focus on pop music revues and adaptations of every single hit movie ever made?

I understand not liking what Lenk is doing, but I don;t understand the hostility to her/those who cast her, as if they owe you someone or something else."

Not at all, and no hostility here. I'm just of a generation that has grown up with Wicked, Hamilton, American Idol, The Voice, etc. So to me, I know we can have both. I personally don't really get why a composer would want an actor who can't handle his score? Like, I just don't understand why that would work. I LOVED this production and plan to go back, but "Being Alive" and all of Bobbie's solos were just painful to watch/listen to. They didn't work. When you're watching an actress struggle to hit the notes it's tough to justify why when there are so many actresses out there that can deliver.

bwaydreamer said: "Green's review is the correct review. Patti is the stand out obviously, and there are some funny moments and good performances, but we all know Katrina can't sing it. Anyone who says otherwise is just lying to themselves. And the direction is way too busy and detracts from the core of the show. It's a fun night of theatre but it doesn't hit like Company should. "

Sounds like you’re lying to yourself because you can’t accept that your experience isn’t the only correct one.

RippedMan said: "Not at all, and no hostility here. I'm just of a generation that has grown up with Wicked, Hamilton, American Idol, The Voice, etc. So to me, I know we can have both. I personally don't really get why a composer would want an actor who can't handle his score?"



I'm of the same generation as you and the issue is that Company is decidedly not Wicked or Hamilton or American Idol (lol). It's not the kind of show that needs high belting to "prove" to the audience that the character is feeling heightened emotion. I understand some of the qualms with Lenk, even though I personally loved her in the show, but I hate the idea that because Lenk isn't screlting every night she's not doing justice to the part. Wicked and other mega-musicals have completely upended what female leads on Broadway are "supposed" to sound like, and not for the better in my opinion.

Yes, Company has always had well established book issues (it's one of the things I find endearing about the piece) and Lenk's inner journey and transformation does the best job of any other performance of Bobby (except possibly Raul Esparza) of making me believe her arc. I don't find that to be diminished because she doesn't sing Being Alive like it's Defying Gravity. This isn't that kind of show.

Updated On: 12/10/21 at 02:49 PM

JDonaghy4 said: "Wick3 said: "A Director said: "And then to beclown yourself by pretending that Green doesn't like shows directed by women? When we have ample evidence to the contrary? Grow up."

Someone who likes other shows directed by woman can still make comments that come across misogynistic. That's like the theater critic equivalent of "I have a black friend..."

UrNotAMachine said: "JDonaghy4 said: "Wick3 said: "A Director said: "And then to beclown yourself by pretending that Green doesn't like shows directed by women? When we have ample evidence to the contrary? Grow up."

Someone who likes other shows directed by woman can still make comments that come across misogynistic. That's like the theater critic equivalent of "I have a black friend..."

"

Similarly, women can absolutely be misogynistic. I don't think Shaw's is just because she didn't like it, but there is no question that many women are misogynistic.

He also loved Nunn’s “A Little Night Music” in London and hated it on Broadway.