re: In comes COMPANY....- Page 11

[BroadwayRandy0711]

Posted: 11/1/06 at 9:37pm

Fantastic, thanks for the replies. My seats are on the right side. I was a little nervous after reading that comment and then saw Emcee's picture and felt a little better, still just wanted to ask for my own comfort.

[mebice]

Posted: 11/2/06 at 12:15am

Hello all. I saw it Halloween as well. I have nothing more to add. Again, Raul....that is all. But, I would like to say I loved seeing all the BWW people on here. That was a special treat. no halloween pun intended

[Bal]

Posted: 11/2/06 at 1:44am

I can't...comment extensively the way some of you have I'm still...just... not all here.

I saw the show on Monday from the box on the left side. Tonight I was inthe very front (student rush), and on Saturday I will be in Row A.

The performance was inspiring, touching, and absolute genius. I caught symbolism and intricacies of set and direction that I hadn't before. The idea of the multiple boxes... the two on either side of the stage and the big one in which all the action takes place, is utterly brilliant. The idea of Bobby being trapped is so reinforced, it makes him standing in the light at the end so...beautiful. Especially the hesitant, scared way he stepped into it. I stood after Being Alive, as did a couple of my friends. I couldn't not. it was the most brilliant piece I have ever seen performed on a stage.

It is still the best piece of theatre I have ever experienced or witnessed.

Raul Esparza singled me out and included me in the show, by pointing at me when I giggled and saying a couple of lines to me. "...and I wanted to have stability, and then my job started picking up and I met all these..." "*I giggle*" "*Raul Esparza points to me, in the front row*...I know that sounds like rationalization! But it ISN'T, and here's why!" (Or whatever the line is...I was freaking, a little bit.)

All the actors who came out of the stage door told my friends and I how much they enjoyed our enthusiasm and obvious passion for the show.

Raul Esparza...my favourite actor...came out of the stage door and talked with me for fifteen minutes about acting, the show, John Doyle, drama school (I'm a theatre major), and such things.

I have never felt so emotionally alive and genuinely ecstatic as I have tonight.

I have never literally been on the edge of my seat before during a performance... until today.

I will be seeing it many more times.

I honestly believe it has changed my life, and my perspective on my chosen career.

Interesting to note... I was talking to Mr. Esparza after teh show, and he said that it was Ms. Walsh's idea to cut the Ladies Who Lunch applause, which I very much agree with. I said to him, "the fade of the music just emphasizes that she's having a breakdown, and grounds it in reality so well..." And he grabbed my hand and went, "Exactly!"

He is a fascinating man (who took my hand!) and I felt so honoured and privileged to have that opportunity to talk to him.

Thanks for reading this. I hope it wasn't too nonsensical.

-Fairlith

[luvtheEmcee]

Posted: 11/2/06 at 1:59am

Awwww. I felt a lot of the same stuff, so yay.

It's interesting that Raul's interacting with the audience as much as he is. I sort of wonder if Doyle's going to give him a kick in the ass for it... not necessarily because he discourages breaking the fourth wall, but if an actor does something for a laugh, and takes too much pleasure in getting that laugh to the point of hamming it up too much or something, he'll take it away. The way Raul acts often thrives on what kinds of reactions he can pull from the audience, which makes me question how much he can get away with. But we'll see.... :)

Reading stories like yours make a little bit jealous and absolutely loathe the fact that I'm legitimately intimidated and incapable of having an actual conversation with him. There are so many things, especially about this production that I would absolutely eat my fist to hear his thoughts on, but I get too nervous for anyone's good.

Updated On: 11/2/06 at 01:59 AM

[Bal]

Posted: 11/2/06 at 11:32am

Nervusness? You must be kidding.. I tried to dart away after the show and my friends literally HELD me until he came out. 45 minutes.

Luckily, I didn't start to cry until we were on the subway home...

[luvtheEmcee]

Posted: 11/2/06 at 12:42pm

I'm ashamed to say that as soon as he came out the door, I almost ran clear in the other direction. It's so stupid. I had been crying, but apparently you couldn't tell save for the sniffles. And the dumber thing is that I'm afraid of him because I'm desperately shy, and just feel awkward in general, but I wasn't going to let it stop me because even if it was only a thirty-second affair, I wanted to congratulate him. I felt like he deserved to hear it, I guess. I sort of just asked him to sign my Playbill because I was holding it, and I felt like I was supposed to. Something like that if relatively moot at this point; not to trivialize it, really, but there are things more valuable.

[Bal]

Posted: 11/2/06 at 5:48pm

I totally agree. I didn't bother asking for an autograph; what he gave me was so much more special to me.

When are you seeing it again, Emcee? I feel like we HAVE to discuss this show after we missed each other due to my idiocy at Chitty.

[luvtheEmcee]

Posted: 11/2/06 at 5:52pm

No definitive plans just yet. :)

[WesternSky2]

Posted: 11/5/06 at 12:39am

I didn't want to start a new thread since reviews aren't really my thing, but I had to bump this up... I saw Company tonight. Amazing production all around, really spectacular. Raul gives one of the most incredible performances I've seen in a while. This is *his* show, and I'd love to see him take the tony for it.

Also - as a side note - I had seen it in numerous places saying they don't do rush on weekends, so I just wanted to let everyone know that I did get rush today. Front row. 2 hours before the show. Incredible!

[luvtheEmcee]

Posted: 11/5/06 at 1:10am

Yay on all counts. :)

I cannot stop thinking about it.

[broadwaybaby77]

Posted: 11/5/06 at 9:07am

I saw Company yesterday afternoon. No understudies (unless you count Pfitsch). Here goes...

I came in expecting great things, having heard so much from this thread and other BWWers, but it just didn't hit me. I know the show isn't directed at me at all; I'm definitely not near 35, but for some reason or another, I just didn't feel it.

Raul was great. He played Bobby just the way I imagined the character. Other standouts were Walsh as Joanne, Angel Desai as Marta (great voice), Kristin Huffman as Sarah, Leenya Rideout as Jenny, and, most importantly, Jane Pfitsch as Amy. For me, Pfitsch stole the show completely. I certainly hope Laws is able to do the role just as well as Pfitsch.

My standouts were mostly women. That being said, I found all of the men (Raul not included) to be forgetable. In the brief scenes into married life, all of the men sit back as the women do all of the crazy stuff. I would have written something nice about the men, but I just couldn't think of anything. I honestly don't remember who the men were or to which woman they belonged.

I wasn't really impressed. Then again, the show is still in previews. I think once the cast grows with the show, it'll be in great shape. I was just really underwhelmed.

[luvtheEmcee]

Posted: 11/9/06 at 1:31am

After allowing some of my "oh my God, they're finally here!!" thrill and excitement surrounding Company's much-anticipated arrival to settle, I made a return visit; wanted to comment on a few of the changes, all of which I love. And even with that anticipation slowly fading, the show is still stunning, I think.

They're selling window cards now, for anyone interested. They look just like the ads have looked -- full cast, cubes stacked vertically, Raul on top, with the "five married couples..." blurb and list of credits. They're nice.

I rushed and sat in the front row this time. I think I do for the most part prefer seeing it from up above; the lighting effects are much more beautiful to look at when you can see the "shapes" of sorts projected on the stage and everything. What I found most striking about seeing it up close is how claustrophobic it feels. The edge of the diamond shape sticks right out into the audience; it's all just right there, and you're really right on top of everything, surrounded by it all, in a way, just like Bobby is. Up close enough, the "blocks" also do something really interesting -- if you look into or through them, you see all of the instruments, set pieces and sometimes the actors reflected two or three times. In doubling (and sometimes tripling) everything, it makes the whole claustrophobic element a lot more... menacing, really. I don't know if that's an intentional choice, but it definitely makes Bobby's plight a lot more personal -- he's surrounded by pressure from everywhere he might look. It's a completely different show to watch it that way than to watch it from afar, looking in and still having some distancing effect. I found it overall to be a bit more cathartic when I was physically distanced from the action -- not sure why that is.

As for the actual changes to the show, I'm just going to go in performance order. Overall, everything is much clearer, especially symbolically speaking. There were probably a bunch of things I didn't catch, too, just as a disclaimer.

Raúl still comes on stage first, but instead of standing behind the column at the "top" of the diamond for the whole voicemail sequence, he spends it leaning on the piano, at that sort of "home base" that's been created for Bobby. It works better in two ways, I think: for one, you can actually see him, whereas before from some places, the column totally blocked him from view. Secondly, the whole idea of him just sitting by in his apartment is really bluntly stated by putting him there.

The book scene with Harry and Sarah's been toned down a little bit, and Kristin Huffman is playing it all more downstage. She's doing the whole "food orgasm" scene with a little bit more introversion and isn't quite so overstated about the comedy, but it still works. It works in the sense that now it feels like Sarah is a bit less aware of how funny and odd she is, but rather, this is just how she does things. This is her normal.

The pot smoking scene is essentially the same, with a few very minor blocking changes... as far as I could tell only on Raúl's part, when he sits on the floor. It's a little hammier, and a little bit more emotionally reactive. There's a heightened sense of his relationships with the two of them, in a way that answers the often-asked question of just why these people love Robert so much. It's subtle, but sweet.

The choreography in You Could Drive a Person Crazy is tightening, but I'm not sure if it changed. I don't think it did.

The blocking in the "pulse of the city" scene (Marta and Robert) is pretty different. In Cincinnati, almost the entire scene was played with Angel on the piano and her legs wrapped around Raúl. Last week, that part was still in, but they spent most of it talking without any physical contact. Now Angel sits on the piano and Raúl is a good few feet away from her. She jumps down to hug him for the end of the scene; they hold each other for a moment, broken by Marta's description of the two types of New Yorkers, and they almost kiss just before she shares her "theory." It, as do many of other changes, again highlights Bobby's isolation and hesitation to get too close.

Side by Side by Side was re-done almost entirely. It's GREAT. It's still very active, but not as chaotic and looks a lot less like an accident waiting to happen. It's much tighter overall and the kick line is much cleaner as well. They had cut the cymbals during rehearsals in NYC, and rather had Raúl play a kazoo solo, for lack of better terminology, after the other soloists had their turns. He's still doing that (hamming it up, for sure), but the blocking where the cymbals had been returns. Instead of playing them, he hops up on the block in the middle of the crowd and just claps his hands, after weaving in and out of everyone for a bit. He's trying so hard to fit in and be a part of the crowd, but he can't -- he doesn't have an instrument. He's not ready yet, but he's just trying so hard. It's heartbreaking.

There are a lot of differences in the whole Bobby/April sequence -- that sort of "dance" they do around the piano is more defined during Poor Baby, and much more flirtacious. The reprise of Poor Baby has a bit more action going on away from Bobby and April, within the commentary by the women. The scene itself has lost most of its implicit quality and grows racier and much more explicit -- it's not excessively graphic and still preserves all of the urgent immediacy that I really liked about it after the transfer. Instead of essentially just making out in two separate locations, they do that for a bit, and the sex is much, much more bluntly implied than it was before (again, still not overstated or tactless) with their interaction sitting down on the piano bench. Raúl keeps his eyes open and looking around for about half of it, which is incredibly telling for the character -- aware and detached, perhaps even almost frightened and alarmed. The scene ends with April "asleep" on Bobby's chest, and it's very clear that Barcelona is "the morning after." The entire thing is very, very sexy.

The "homosexual experience" scene is becoming tighter, too -- Raúl is hestitating more and really drawing out that moment before he says to Peter "oh, I get it, you're putting me on!" He's committing to the outcome of the scene much more, I think, and finally feels like he's really got command of where the audience goes with it.

The Ladies Who Lunch is growing on me, but no overt changes that I saw to speak of. I think it's just also becoming subtler.

Being Alive is still totally revelatory -- the only difference I noticed was that after Bobby steps into the second beam of light, it brightens toward the finale of the song. An excellent addition.

The entire cast was even better this time than last, by far; and they were incredible last time -- they're extremely impressive. Raúl's performance is growing and changing for the better. He is truly something else to see up so close -- his facial expressions are incredible, calculated and precise without losing their realism. He continues to be beautifully heartbreaking.

I'm definitely in love. It's fascinating to watch the show change. Every choice makes sense and seems thoughtful, which makes it all the more interesting to check back and watch the process happen. I'm so glad I'm having the opportunity to do so.

Updated On: 12/3/06 at 01:31 AM

[CATSNYrevival]

Posted: 11/9/06 at 2:01am

this is sort of off topic, but I just noticed that "Tick Tock" isn't even in the licensed script currently avaialble from MTI. Or, at least, it's not listed. what the hell is up with that? instead of complaining over the fact that Raul's shirt stays on I'm going to now start thanking the stars above that the song is even in the show at all now...

[Michael Bennett]

Posted: 11/9/06 at 9:45am

CATS - the script that MTI licenses is mostly based on the revisions made for the Donmar Warehouse. "Tick Tock" is available upon special request.

[luvtheEmcee]

Posted: 11/9/06 at 12:43pm

Wait, you're happy that it's not in? That's different!

Also, in retrospect, apologies for the longest post ever.

Updated On: 11/9/06 at 12:43 PM

[smartpenguin78]

Posted: 11/9/06 at 12:50pm

No need to apologize em, the thing about your long posts is that they always contain vital information. That is always allowed.

Even though I have not gone back yet, my experience of the show is coming together and I keep thinking it better and better. These changes sound excellent, and I believe firmly that now (without the burden of ST) the show will really work its magic!

Thanks for all the updates!

[frogs_fan85]

Posted: 11/9/06 at 1:07pm

luvtheEmcee, I did student rush yesterday as well. I saw the matinee, which show did you see?

[luvtheEmcee]

Posted: 11/9/06 at 4:27pm

Evening. What did you think?

Penguin, yes, my built-in vital-o-meter told me I should omit certain details pertaining to Poor Baby, Bareclona and um, stage kisses.

[luvtheEmcee]

Posted: 11/9/06 at 10:57pm

This is random, but I just remembered; in the segue from the title song to Harry and Sarah's scene, Marta's line had been "stop blowin' that horn, asshole!" -- but last night they'd cut the swear. I'm wondering, for anyone who saw like... the matinee yesterday or tonigh't show, was that just a flub or has the line really been changed? If so, I wonder why.

[frogs_fan85]

Posted: 11/9/06 at 11:28pm

Having never seen a production of Company or even listened to the cast recording, I really enjoyed it. The girl who played Amy blew me away. Her diction was incredible (granted this could have been because she was a foot and a half away from me) and her facical expression were hysterical and perfectly timed. I also enjoyed a lot of the cheoreographed movements by the actors who weren't taking part in a scene directly. For example the synchronized turning of the actors in the seats at the sides of the diamond. I have also never seen Raul Esparza and was thoroughly impressed by him. He had me cracking up with some of the sleightest expressions. "Being Alive" blew me away completely. I'm definitely planning a return trip in the near future.

[Luscious]

Posted: 11/10/06 at 12:11am

Does anyone know if it's true that the actress who's currently playing Amy (I believe her name is Jane Pfitsch) is not the same actress who will be playing the role when the show opens? And if so, what's the buzz on the actress who will be taking her place?

[luvtheEmcee]

Posted: 11/10/06 at 12:28am

Yes, it's true. Heather Laws, who played Amy in Cincinnati just had a baby, which is why she hasn't begun performances yet. She starts on November 13th, so technically Jane is covering for Heather, rather than Heather "taking over." She's great as well.

Updated On: 11/10/06 at 12:28 AM

[Luscious]

Posted: 11/10/06 at 12:42am

Thanks Emcee. I'm seeing it on 11/18. Hope Heather is up to snuff by then.

[luvtheEmcee]

Posted: 11/10/06 at 12:56am

She did the entire Cincinnati run, and she's already back in rehearsals, so I don't doubt she'll be just fine.

[redhotinnyc2]

Posted: 11/10/06 at 8:30am

Saw it Wednesday evening and found it to be the best theatrical experience I've had since Light in The Piazza. Just perfect from beginning to end. I've always been worried for the performer who plays Joanne, thinking no one would ever match Elaine Stritch's performance - but Barbara Walsh made it her own and was really fantastic. The whole cast is just so talented. I don't have much else to say except SEE IT if you can. You won't want to be someone who says they missed it when it's gone.