#51
Posted: 4/8/11 at 6:14am
I'm interested to know how Christina Hendricks did because her casting was such a surprise to me.
Who's seeing COMPANY tonight? — Page 3
#52
Posted: 4/8/11 at 6:31am
I hate the answering messages and they already date the show (OK, voice mail isn't so diff, but...) if the whole purpose was to make Company in the revisions take place "now". That's one big reason I so strongly dislike the updated libretto (the gay scene, perhaps surprisingly, is the one change I don't mind--nor ending Act I with Marry Me a Little).
So if the messages were cut, and they did the original orchestrations (with the pit singers I hope) does that mean they used the original 1970 book? With the meaner Joanne, etc? Or did they use the current book? Or? And how was Tick Tock and who choreographed?
So if the messages were cut, and they did the original orchestrations (with the pit singers I hope) does that mean they used the original 1970 book? With the meaner Joanne, etc? Or did they use the current book? Or? And how was Tick Tock and who choreographed?
#53
Posted: 4/8/11 at 7:24am
I found the whole Barcelona scene more enjoyable than usual because of the acting chops Christina Hendricks brought to the role. Tick Tock had five women dancing, one of whom was Kathy. Much of the dancing involved them moving in and out of silhouette. They had large wraps they would use to conceal themselves with lighting from behind. They'd then emerge from the cloth and wrap it around them, dance with it, etc. Worked pretty well.
Lupone did the "when are we going to make it scene" very efectively, but she had a bit too much schtick in here Ladies Who Lunch for my tastes I actually liked her different interp of the number in the Sondheim Birthday Concert, but here she was back to some of her usual sliding in and out of phrases. Still done effectively though.
Overall, a good night with a few flubs in scene cues and timing. It was only somewhat egregious during Getting Married Today, an unfortunate thing. Scenes were well-acted throughout. Martha Plimpton was a delight throughout. Choreography for Side by Side was quite fun and segued from a top hat and cane look into a madcap circus-style moment with hula hoops, rhythmic streamers, and some fun choreography involving Colbert.
NPH is a natural Bobby in the book scenes with some strong characterization. He sang both Marry Me a Little and Being Alive quite nicely, but obviously not with the vocal force Esparza brought to the revival. His voice was a bit thin though for a few spots in the opening number.
All in all, a very enjoyable concert production, albeit it an expensive ticket.
Lupone did the "when are we going to make it scene" very efectively, but she had a bit too much schtick in here Ladies Who Lunch for my tastes I actually liked her different interp of the number in the Sondheim Birthday Concert, but here she was back to some of her usual sliding in and out of phrases. Still done effectively though.
Overall, a good night with a few flubs in scene cues and timing. It was only somewhat egregious during Getting Married Today, an unfortunate thing. Scenes were well-acted throughout. Martha Plimpton was a delight throughout. Choreography for Side by Side was quite fun and segued from a top hat and cane look into a madcap circus-style moment with hula hoops, rhythmic streamers, and some fun choreography involving Colbert.
NPH is a natural Bobby in the book scenes with some strong characterization. He sang both Marry Me a Little and Being Alive quite nicely, but obviously not with the vocal force Esparza brought to the revival. His voice was a bit thin though for a few spots in the opening number.
All in all, a very enjoyable concert production, albeit it an expensive ticket.
#54
Posted: 4/8/11 at 7:53am
I went in with high expectations, and they were exceeded. Particular standouts were Colbert, Plimpton, Hendricks, and Finneran. I was not a fan of LuPone's "Lasies Who Lunch" at the Sondheim celebration, and while this was certainly better, I still think it can get much better. I felt like Patti LuPone started the song, and somewhere along the way Joanne took over. If Joanne would sing the entire song, it would be wonderful. I think NPH's problem being heard at the beginning might have been technical, because it seemed to get resolved very quickly. I was never a fan of "Side By Side", but I thought this cast made it work in a big way. Overall, I found more comedy in this performance than I never knew was in the piece.
A note about the stage door: not sure how this will apply toward other performances, but we waited about 30 minutes and Hendricks is the only one who signed. LuPone, Lazar, Whitehead and Bierko left without signing. Didn't see anyone else, and we got to the door very quickly.
A note about the stage door: not sure how this will apply toward other performances, but we waited about 30 minutes and Hendricks is the only one who signed. LuPone, Lazar, Whitehead and Bierko left without signing. Didn't see anyone else, and we got to the door very quickly.
"It does me no injury for my neighbour to say there are 20 gods or no god. It neither picks my pocket, nor breaks my leg."
-- Thomas Jefferson
Updated On: 4/8/11 at 07:53 AM
#55
Posted: 4/8/11 at 9:20am
I agree with you Eric about the phone messages. I see why people think they are cute, funny, etc. but I don't think they are organic to the feel of the original script (which includes references to answering services). I do think the expanded Bobby-Kathy scene is important, but in general I'm not a big fan of script revision decades after the original.
#56
Posted: 4/8/11 at 9:51am
(asked once again) how was stephen colbert?
#57
Posted: 4/8/11 at 10:15am
I am a huge Colbert fan, so I may not be the best judge, but I thought he did very well for himself. He and Plimpton wrung every laugh out of their scene, and he fit in very well with the other guys in their numbers (so did Cryer). Singing was OK, but seemed to get better. I imagine his singing will be more comfortable in subsequent performances.
"It does me no injury for my neighbour to say there are 20 gods or no god. It neither picks my pocket, nor breaks my leg."
-- Thomas Jefferson
#58
Posted: 4/8/11 at 10:39am
Word vomit. I apologize in advance -
Colbert was excellent! His pairing with Martha Plimplton brought great life to the stage. His voice had this calming, natural tone to is that seemed to not only connect with Bobby during Sorry-Grateful, but with the entire audience. His delivery was spot on, and the wrestle scene was great! A little mechanical (clearly, they've probably only done in a few times) but I really wish this was a limited-run on Broadway to see him shine in the role night after night after night.
He never once slipped into the his television-Colbert persona and kept being Harry the whole concert.
I enjoyed the cut of the answering machines, they really aren't needed in the show, especially this production.
Anika Noni Rose was a bit of a disappointment in terms of her Another Hundred People. I wish she belted more at the end, but she was great as Marta. Christina Hendricks was perfect as April. Sincere, apologetic and a tad odd, making her April a strong character in the show and a great match for Bobby to explore relationships with.
Katie Finneran was the only problem I had with the production (besides some stagehands/ensemble members moving the couches - that was distracting and scene stealing at times). I thought she made a mess of her Amy, who is clearly a mess, but more of a messy characterization. I swear she flubbed Not Getting Married Today with lyrics and came in wrong opposite Aaron Lazar (who shined in his severely limited stage time). And every once in a while she'd stumble on her lines, or say them late breaking the flow, pattern and meter of some scenes (including the final scene after Being Alive).
Jon Cryer and Jennifer Laura Thompson were top-notch! Perfect casting on both ends. Thompson's vocals were impressive, and her chemistry with Cryer made their marital situation 100% believable. Cryer was very impression (and #winning, so to say). His theatrical roots really made him prove that he's a terrific actor.
And yes, LuPone's big scene was the best part of the entire concert. The whole final 20 minutes were moving, hilarious, heartbreaking and left me speechless.
As far as running time I was outside by the fountain at 10:22. Intermission fell at 8:55.
Also, there are 7 blocks/frame that hang above the stage, one for each letter in Company. They are displayed in the design of the original logo (the red on purple, same font) and light up periodically. I do wish they were used better, however, they were a nice touch.
Was anyone else annoyed by the stage-right "city lights" shaking!?
Overall I'm glad I went, and saw this all-star cast in my favorite American musical. Kudos to the Philharmonic (the score sounds AMAZING with a 35 piece orchestra).
Colbert was excellent! His pairing with Martha Plimplton brought great life to the stage. His voice had this calming, natural tone to is that seemed to not only connect with Bobby during Sorry-Grateful, but with the entire audience. His delivery was spot on, and the wrestle scene was great! A little mechanical (clearly, they've probably only done in a few times) but I really wish this was a limited-run on Broadway to see him shine in the role night after night after night.
He never once slipped into the his television-Colbert persona and kept being Harry the whole concert.
I enjoyed the cut of the answering machines, they really aren't needed in the show, especially this production.
Anika Noni Rose was a bit of a disappointment in terms of her Another Hundred People. I wish she belted more at the end, but she was great as Marta. Christina Hendricks was perfect as April. Sincere, apologetic and a tad odd, making her April a strong character in the show and a great match for Bobby to explore relationships with.
Katie Finneran was the only problem I had with the production (besides some stagehands/ensemble members moving the couches - that was distracting and scene stealing at times). I thought she made a mess of her Amy, who is clearly a mess, but more of a messy characterization. I swear she flubbed Not Getting Married Today with lyrics and came in wrong opposite Aaron Lazar (who shined in his severely limited stage time). And every once in a while she'd stumble on her lines, or say them late breaking the flow, pattern and meter of some scenes (including the final scene after Being Alive).
Jon Cryer and Jennifer Laura Thompson were top-notch! Perfect casting on both ends. Thompson's vocals were impressive, and her chemistry with Cryer made their marital situation 100% believable. Cryer was very impression (and #winning, so to say). His theatrical roots really made him prove that he's a terrific actor.
And yes, LuPone's big scene was the best part of the entire concert. The whole final 20 minutes were moving, hilarious, heartbreaking and left me speechless.
As far as running time I was outside by the fountain at 10:22. Intermission fell at 8:55.
Also, there are 7 blocks/frame that hang above the stage, one for each letter in Company. They are displayed in the design of the original logo (the red on purple, same font) and light up periodically. I do wish they were used better, however, they were a nice touch.
Was anyone else annoyed by the stage-right "city lights" shaking!?
Overall I'm glad I went, and saw this all-star cast in my favorite American musical. Kudos to the Philharmonic (the score sounds AMAZING with a 35 piece orchestra).
#59
Posted: 4/8/11 at 10:43am
Theatermania review:
http://www.theatermania.com/new-york/reviews/04-2011/company_35890.html
http://www.theatermania.com/new-york/reviews/04-2011/company_35890.html
#60
Posted: 4/8/11 at 10:58am
Love this from that: "Anika Noni Rose...effortlessly performs Sondheim's tricky 'Another Hundred People' as if it were little more than 'Jingle Bells.'"
#61
Posted: 4/8/11 at 11:03am
From what I've heard from friends and read this morning, it sounds as though my fears were realized. I love this show enormously, and am frequently heartbroken at how people screw it up from ignorance.
It's NOT a timeless show - it's utterly a part of the time in which it was created; I'm surprised how little people understand that the early 70s were a very different time than today. Company just doesn't zing like it should when you take it out of its time.
It's also not a Follies-size epic; it's a small, intimate, ultra-tight piece. A 40-piece orchestra, added chorus, and huge symphony hall will smother it like an elephant on your face.
And it's definitely not a show that you can throw together in a week, no matter how talented your all-star cast is (particularly when your director has a track record of bad taste).
It's NOT a timeless show - it's utterly a part of the time in which it was created; I'm surprised how little people understand that the early 70s were a very different time than today. Company just doesn't zing like it should when you take it out of its time.
It's also not a Follies-size epic; it's a small, intimate, ultra-tight piece. A 40-piece orchestra, added chorus, and huge symphony hall will smother it like an elephant on your face.
And it's definitely not a show that you can throw together in a week, no matter how talented your all-star cast is (particularly when your director has a track record of bad taste).
#62
Posted: 4/8/11 at 12:16pm
newintown -
I agree with you, and I believe many aspects of this concert version agrees with you as well. Company functioned well, in my opinion, outside of the 70's setting in the recent Broadway revival, and with that being a success this concert's staging takes Company back to the 70's. Costumes, design, lighting and hair are all in the style of the 70's. It reminded the audience they are seeing a show taking place in 1970, not in the 2010's (regardless of stars who were nobodies outside of the 2000's, give or take a few).
My major problem with the concert was the lack of intimate. Avery Fisher Hall is massive, and Company is not. I felt distant from the show, sitting 30+ rows back. This lack of engagement reminded me that yes, I was at a concert. It reminded me I wasn't seeing a full-blown production.
This was a concert version in every aspect of the term.
I agree with you, and I believe many aspects of this concert version agrees with you as well. Company functioned well, in my opinion, outside of the 70's setting in the recent Broadway revival, and with that being a success this concert's staging takes Company back to the 70's. Costumes, design, lighting and hair are all in the style of the 70's. It reminded the audience they are seeing a show taking place in 1970, not in the 2010's (regardless of stars who were nobodies outside of the 2000's, give or take a few).
My major problem with the concert was the lack of intimate. Avery Fisher Hall is massive, and Company is not. I felt distant from the show, sitting 30+ rows back. This lack of engagement reminded me that yes, I was at a concert. It reminded me I wasn't seeing a full-blown production.
This was a concert version in every aspect of the term.
#63
Posted: 4/8/11 at 12:24pm
Yes, according to the playbill it's still set in the 70s. Whether the audience realized that or not, is another story; I know I heard at least one person during intermission wondering about some of the dialogue.
Well, it wasn't a concert in the respect that people weren't on-book, standing at music stands. But yes, I agree that Avery Fisher is too cavernous, especially with how the tiers are set up with seats just along the sides instead of traditional seating. I was all the way up in the last tier, but fortunately had binoculars, so the distance visually at least was fine. Can't wait to see it from 4th row tomorrow!
Well, it wasn't a concert in the respect that people weren't on-book, standing at music stands. But yes, I agree that Avery Fisher is too cavernous, especially with how the tiers are set up with seats just along the sides instead of traditional seating. I was all the way up in the last tier, but fortunately had binoculars, so the distance visually at least was fine. Can't wait to see it from 4th row tomorrow!
#64
Posted: 4/8/11 at 12:27pm
How are the answering machine messages any different from voice mail? Unless it's made clear that they are on cassette tapes, I don't see how they date the show. They could JUST as well be voicemails. I've actually seen it staged with a cell phone.
Anyway, I read the Theatermania review, but I don't want to read too much else for various reasons, so would someone just please tell me if they're using the old or new Bobby/Kathy scene?
Man, I hate being this far away.
A work of art is an invitation to love.
Anyway, I read the Theatermania review, but I don't want to read too much else for various reasons, so would someone just please tell me if they're using the old or new Bobby/Kathy scene?
Man, I hate being this far away.
#66
Posted: 4/8/11 at 12:33pm
Good. Thank you. That scene is tremendously important, IMO.
A work of art is an invitation to love.
#67
Posted: 4/8/11 at 12:36pm
It really is, and Chryssie Whitehead does an AMAZING job. It never resonated with me so much.
#68
Posted: 4/8/11 at 12:43pm
He never once slipped into the his television-Colbert persona and kept being Harry the whole concert.
lol. Did you expect that he'd be unable to stay out of his Report character? Colbert was trained as an actor, and is a very talented one, at that.
I can't imagine anyone doing the park scene better than Kelly Jeanne Grant did, and it made me cry all undisclosed number of times I saw it, but glad to hear it's so good.
A work of art is an invitation to love.
lol. Did you expect that he'd be unable to stay out of his Report character? Colbert was trained as an actor, and is a very talented one, at that.
I can't imagine anyone doing the park scene better than Kelly Jeanne Grant did, and it made me cry all undisclosed number of times I saw it, but glad to hear it's so good.
Updated On: 4/8/11 at 12:43 PM
#69
Posted: 4/8/11 at 12:47pm
I truly enjoyed Chryssie's version of the park scene more than Grant's.
and MusicandPassion, those lights flashing were so distracting!
and MusicandPassion, those lights flashing were so distracting!
Updated On: 4/8/11 at 12:47 PM
#70
Posted: 4/8/11 at 12:50pm
For those in my unfortunate boat:
https://www.broadwayworld.com/videoplay.php?colid=225311
A work of art is an invitation to love.
https://www.broadwayworld.com/videoplay.php?colid=225311
#71
Posted: 4/8/11 at 12:55pm
Clips in the link below:
Company
Company
"It does me no injury for my neighbour to say there are 20 gods or no god. It neither picks my pocket, nor breaks my leg."
-- Thomas Jefferson
#72
Posted: 4/8/11 at 1:38pm
I know you can't judge a whole performance frm a clip, but I wasn't super crazy about the clip of "Being Alive". He seemed to kind of cut notes. But then one always compares to original performances and in this case, Esparza's also. I can't wait to see this in the movie theaters and hope there is a DVD.
Just give the world Love. - S. Wonder
#73
Posted: 4/8/11 at 1:44pm
Well, his voice isn't ideal for the song, but it's not a song you can judge on just a snippet, because how it comes across, for me, is so dependent on seeing the overall arc, the build-up, and, honestly, the entire performance. With that song, it's almost a disservice to the actor just to show the very end. And if he acts the sh*t out of the role, I'm willing to forgive the vocal shortcomings.
A work of art is an invitation to love.
Updated On: 4/8/11 at 01:44 PM
#74
Posted: 4/8/11 at 1:57pm
That's why I said you can't judge a whole performance from a clip. I would pay just to see Patti spill that drink though!
Just give the world Love. - S. Wonder
#75
Posted: 4/8/11 at 2:04pm
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95