Company Reviews (and beyond) — Page 6

I thought Matt Wolf did the official NYT review for the London production and that Brantley also praised the piece in a column he wrote about both Company and Caroline or Change. Or were they both "official" reviews with Wolf's simply appearing a few months ahead?

Both count as reviews, even if Brantley filed less formal pieces on his annual London sojourns. Wolf's articles, from an American abroad, also tend to cover several shows at once and rarely appear on opening nights (Wolf's recent Times review of ALW's "Cinderella" was an exception).

But Wolf's articles have never had the influence on producers that Brantley's had. It's fair to say that Brantley's London reviews got the new "Caroline" and the new "Color Purple" to Broadway; he did not particularly care for either show when it premiered in NY. His rave for the 2018 London "Company" helped seal the deal on bringing it in. Likewise, his London pans were at least partly responsible for a number of shows not coming to NY.

Updated On: 12/10/21 at 04:44 PM

You’re right, I remember people saying Raul’s Bobby seemed on the verge of suicide. Now some find Elliot and Lenk’s interpretation too dark. As you said, it’s very hard to please some people with Sondheim revivals.

that ^^

I'll take a Bobbie who can't sing over a Bobbie who can't act, and I think Lenk can do the first fine and the second wonderfully. She plays it frightened, on the verge of an irreversible loss of self, but not quite there yet, which I think works better with Furth's zany (and often shallow) script than the dirgelike Doyle revival where Raul Esparza was basically walking around the stage shaking a big bottle of barbiturates. The juxtaposition of nightmare visuals (harkening back better than any of the other revivals I've seen to Aronson's original kaleidoscopic set), sitcom comedy, and the gradual slide into a sort of Cassavetes-esque breakdown.

It's part of why, up until now, my favorite revival was the NPH version, which was underrehearsed and a little too light but was also the first version I've seen where you really understand the final scene. I also really liked the switch here, where instead of Joanne suggesting she'll take care of Bobby as a kind of kept man, Joanne suggests Larry will take care of her as a kept woman, and it's just a beautifully nasty jolt that underlines the fury of Ladies Who Lunch. You can't really go alone, certainly not in this economy.

Anyways, I think this revival is a gem, and as A Gay it's really fun to see a version where I really get (cough) why she would fool around with the three lunkheads.

edit: also, Bobbie coming through the little tiny door to her little tiny apartment right before the last scene has entered my brain library as an iconic Broadway image.

Updated On: 12/10/21 at 06:45 PM

Cape Twirl of Doom said: "Charley Kringas Inc said: "I'll take a Bobbie who can't sing over a Bobbie who can't act


I don't know why it's being presented in this thread as an either/or. I'll take a Bobbie who can sing and act. There are plenty of actors who can do both. Company is one of my favorite musicals and I found Lenk's "Being Alive" to be rather blah. I saw the show in March 2020 and then again last week and I actually liked her better back in March."

I think she can do both. I love her voice, it is unique and beautiful. I thought she sounded fantastic.

I’m also a fan of Katrina’s voice. It’s so unique and lovely. Yes, even here.

I saw the show, loved it. Thought it was electric, every supporting player was brilliant. I went in really wanting to love Katrina and I did aside from her two big numbers. She is fascinating onstage and I like her interpretations of the beginning of both Marry Me a Little and Being Alive but I feel like neither really built to the climax you want from those numbers. Still a thrilling night of theatre just wanted a little more belt.

An extremely extensive interview with Patti from the the Times. She reveals a letter Sondheim wrote her right before the pandemic where he finally complimented her as a singer.

https://www.nytimes.com/2021/12/11/style/patti-lupone-company-stephen-sondheim.html

BJR said: "Also, Company often gets these reviews and/or responses on here.

People always think the Bobby isn't right. Raul mightt have been an exception, but there were detractors, too. And many had lots to say about that revival, too.

Ditto Roundabout's.

I'm starting to think Company is like Follies or West Side where everyone compares it to a production they've never seen."

One of the best comments I've seen on this thread. Well put.

I see what you're saying, Kad. But two things can be true: She's terrific in the book scenes and a great actress and her voice isn't up for the score. Sounds like some loved her, I loved her acting and I think she has the right vibe as Bobbie, I just didn't care for her voice. Especially after Lupone's "Ladies Who Lunch" brings the house down and then we get this whispy "Being Alive." Didn't work for me. Other than that an insane production that I will be going back to.

Out of curiosity (and sparring any emergencies), how is Katrina's attendance rate? I don't know well enough to know.

Isn't Lupone really well known for having great attendance? I'd expect both of them to have pretty stellar attendance.