What do you guys think of COMPANY? — Page 3

"I never saw "Ladies who lunch: as misogynistic. But then I never really saw it as being about "The ladies" as much as it was about Joanne herself.

I agree it isn't misogynistic. And it's not about working-class or lower-middle class women. Yes, it's about Joanne herself and women like her: those who can keep "house while clutching a copy of LIFE" because they have maids to do the heavy lifting. Joanne is making a scathing appraisal of the sort of woman who exists only to help her husband entertain business prospects. You know, the type who can devote an afternoon to choosing a hat.

Kad, the book for A LITTLE NIGHT MUSIC is pretty fine, too.

darquek, Bobby is the anti-Ted Moseby. Ted is so anxious to fall in love and live happily ever after that he jumps too soon and too often. Bobby is so reluctant he jumps too late (as with Kathy).

Eric, the Philharmonic version was broadcast on PBS here last night. (Yes, I have the DVD, but whatever.) I actually lost count of the slang that was specific to the 1970s. I don't think Furth meant to be "ambiguous" about the time period in this particular version. It is 1970.

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Why do you go to the theater, After Eight? I used to love action pictures until they jettisoned character and dramatic action in favor of random explosions. SO I DON'T GO TO THE MULTIPLEX TO SEE THEM ANY MORE.

It really is that simple. And there are countless film musicals from the 30s, 40, 50s and early 60s you could watch instead.

Updated On: 11/9/13 at 03:48 PM

After Eight, I'm not trying to dictate your theatergoing or your posting, but when you claim the last great musical was in 1963 (HELLO, DOLLY!) and the last worthwhile musical was in 1983 (LA CAGE), one has to wonder why you bother?

Your choice, of course.

For women who (might decide that they) want kids and a long-haul father figure for them, feeling/receiving pressure to 'settle down' by age 35 still makes sense, as things are getting towards the pointy end, biological clock-wise. So there's the perfect way to set Company in the present day.

Updated On: 11/10/13 at 01:58 AM

I love COMPANY. It's one of my favorite musicals and even though the show premiered when I was only two, listening to the songs, reading the libretto and of course seeing it performed resonated with me in so many ways.

I related in some way to every character in the show.

COMPANY, for me in the end is about LOVE. Take that wall down and allow yourself to love and be loved. That's what life's about: LOVE.

"Eric, the Philharmonic version was broadcast on PBS here last night. (Yes, I have the DVD, but whatever.) I actually lost count of the slang that was specific to the 1970s. I don't think Furth meant to be "ambiguous" about the time period in this particular version. It is 1970. "

Well Furth had passed away by the time it was done, hadn't he? But regardless, what I meant I guess was they didn't make it too retro stylized -- unlike say, the revival of Promises Promises there is nothing there that screams obviously '70s.

I just watched the concert again on Hulu. The reason it works so well is that the cast is uniformly superb and make each character lovable, wise and specific. The scenes all dazzle. Too often this book is played for callous smartass points, which might have landed in lesser hands back then, but now don't unless - as this company understands very well - they are played with true individuality, love and real wit. Chryssie Whitehead's Kathy is just one of the many perfect performances and is worth singling out because she's relatively unknown.

Surprisingly, the use of the chorus, wheeling loveseats around, and joining in Tick-Tock, was very effective.

The only weak point for me is that Anika, who is very strong and has great comic timing in Marta's book scenes, looks lost throughout most of the musical numbers, and doesn't hit her mark in Another Hundred People until the very end.