Company Reviews (and beyond) — Page 8

sm33 said: And man, the audience was so warm and receptive! After seeing four other shows in a row, the audience for this one was the most lively and engaged by a mile. Makes everything a little better, honestly."

When I saw the news about Assassins today being canceled, I immediately remembered what you said about it being the last show of your trip. If Company ends up being the last one, I'm glad you got to go out on a high note!

ljay889 said: "Jeff Kready (Nikki Renee Daniel's husband) is joining the cast as a new male standby!

https://www.instagram.com/p/CXwRWSjp22K/?utm_medium=copy_link"



Any know what roles Jeff is covering?

jiaxing_26 said: "Just saw this afternoon and here are some of my thoughts: As someone who's watched the 06 revival recording several times, deemingBeing Aliveas almost myraison d'etre,I still feel a little ambivalent (if not underwhelmed) about this revival, and my reasoning may be more or less in line with that of Jesse Green's. I thought the production was electric; a refreshing take, Elliott's version is the one that squarely belongs to 21st-century New York, with restless sirens, gay couples, and women taking the lead. The set flows seamlessly on the stage, and the lighting and costumes are beyond amazing.

But I'm not sure ifCompanywould have as special a place in my heart if I first saw Elliot's production, instead of Esparza's take in Barrymore (NPH was under-rehearsed, and I still need to watch the Adrian Lester version). In Bobbie's case, it makes sense that she's unrealistically idealistic, and I thought the staging extremely effective where she sees the reality of marriage life horrifying. But there are other times when the focus is more on the couples themselves than Bobbie's perspective on marriage vis-à-vis observing these couples. Maybe the problem lies in my male perspective, or the new revival chooses a narrower interpretation. I just ultimately can'tcompletelyrelate to Bobbie's anxiety to get married at 35 than to Bobby's reluctance to commit and his inner exploration that leads to forgoing safer relationships (i.e. friendship) for something he wants. Bobby'sBeing Aliveseems like a revelation, validation, and liberation, but I wasn't sure what to make of Bobbie'sBeing Alive.

Don't get me wrong, Elliott'sproductionis stellar and worth any praise it deserves, but maybe I have more skepticism with her conception than her execution. For me, Lenk is fine -- a little too awkward at times that left me wondering if she comes out of DEH, but her voice was sufficient. Nothing too exciting nor too embarrassing."

Funny, I feel the exact opposite. I saw the 2006 revival live several times and enjoyed it, but I never really connected with it. This is the first time I have really connected and felt the material. Katrina’s Bobbie, the staging, the surrealist feel, all made me feel much more than the minimalism and almost stoicism of the 2006 revival.

How was Jacob Dickey as Andy?

jiaxing_26 said: "Just saw this afternoon and here are some of my thoughts: As someone who's watched the 06 revival recording several times, deemingBeing Aliveas almost myraison d'etre,I still feel a little ambivalent (if not underwhelmed) about this revival, and my reasoning may be more or less in line with that of Jesse Green's. I thought the production was electric; a refreshing take, Elliott's version is the one that squarely belongs to 21st-century New York, with restless sirens, gay couples, and women taking the lead. The set flows seamlessly on the stage, and the lighting and costumes are beyond amazing.

But I'm not sure ifCompanywould have as special a place in my heart if I first saw Elliot's production, instead of Esparza's take in Barrymore (NPH was under-rehearsed, and I still need to watch the Adrian Lester version). In Bobbie's case, it makes sense that she's unrealistically idealistic, and I thought the staging extremely effective where she sees the reality of marriage life horrifying. But there are other times when the focus is more on the couples themselves than Bobbie's perspective on marriage vis-à-vis observing these couples. Maybe the problem lies in my male perspective, or the new revival chooses a narrower interpretation. I just ultimately can'tcompletelyrelate to Bobbie's anxiety to get married at 35 than to Bobby's reluctance to commit and his inner exploration that leads to forgoing safer relationships (i.e. friendship) for something he wants. Bobby'sBeing Aliveseems like a revelation, validation, and liberation, but I wasn't sure what to make of Bobbie'sBeing Alive.

Don't get me wrong, Elliott'sproductionis stellar and worth any praise it deserves, but maybe I have more skepticism with her conception than her execution. For me, Lenk is fine -- a little too awkward at times that left me wondering if she comes out of DEH, but her voice was sufficient. Nothing too exciting nor too embarrassing."

Yes, your problem is your male perspective.

I was at the show yesterday. The house was mostly full but not completely. I'm guessing the empty seats were no shows. I thought Jacob did a great job--I never had a chance to see him as Aladdin so was happy to see him in this role. I also went into this blind having never seen a production of Company before. I was with a friend who was very familiar with the material so we've had some good discussions since the show. I agree with some of the assessments here that Katrina may not be the right fit for this role. When we walked out of the theater, we walked past a small group that was discussing her performance as well.

I didn't find the show to be confusing but I did have trouble seeing Bobbie's progression throughout the show. To me, that was a combination of the book and Katrina. That said, I'd still see this again in a heartbeat. The cast is great overall and that music is just meant to be heard in person.

Rashidra Scott tested positive. She seems to be in good spirits and says she'll "be glad to have this one over with." Understudy for Susan will be on for a little while.

Patti explained the various illnesses the company has:

https://twitter.com/PattiLuPone/status/1475309147956600832?s=20

jiaxing_26 said: "Just saw this afternoon and here are some of my thoughts: As someone who's watched the 06 revival recording several times, deemingBeing Aliveas almost myraison d'etre,I still feel a little ambivalent (if not underwhelmed) about this revival, and my reasoning may be more or less in line with that of Jesse Green's. I thought the production was electric; a refreshing take, Elliott's version is the one that squarely belongs to 21st-century New York, with restless sirens, gay couples, and women taking the lead. The set flows seamlessly on the stage, and the lighting and costumes are beyond amazing.

But I'm not sure ifCompanywould have as special a place in my heart if I first saw Elliot's production, instead of Esparza's take in Barrymore (NPH was under-rehearsed, and I still need to watch the Adrian Lester version). In Bobbie's case, it makes sense that she's unrealistically idealistic, and I thought the staging extremely effective where she sees the reality of marriage life horrifying. But there are other times when the focus is more on the couples themselves than Bobbie's perspective on marriage vis-à-vis observing these couples. Maybe the problem lies in my male perspective, or the new revival chooses a narrower interpretation. I just ultimately can'tcompletelyrelate to Bobbie's anxiety to get married at 35 than to Bobby's reluctance to commit and his inner exploration that leads to forgoing safer relationships (i.e. friendship) for something he wants. Bobby'sBeing Aliveseems like a revelation, validation, and liberation, but I wasn't sure what to make of Bobbie'sBeing Alive.

Don't get me wrong, Elliott'sproductionis stellar and worth any praise it deserves, but maybe I have more skepticism with her conception than her execution. For me, Lenk is fine -- a little too awkward at times that left me wondering if she comes out of DEH, but her voice was sufficient. Nothing too exciting nor too embarrassing."

Maybe because this is 2021, instead of 50 years ago

Claybourne Elder shared a lovely story of when a complete stranger gave him and a friend $200 to see the 2006 Sweeney Todd, and now of course he's in this show with Patti. He's giving away 12 tickets to Saturday's show to people who can definitely attend and who otherwise wouldn't be able to afford it. Truly wonderful.

https://www.instagram.com/p/CYHn2TPL4Fu/

(According to his stories, he may also have just been reunited with that complete stranger!)

Just curious: how is Patti's understudy/?

Patti was back for the next performance I heard.

I was also at today's matinee and really enjoyed the show despite Katrina Lenk. This poor girl is a character actress and not a leading lady. She lacked stage presence and as my TDF seat was in the 2nd row, I could see that her face barely changed expression throughout the performance.