re: In comes COMPANY.... — Page 5

if your friends were ALWAYS around and asking "when are you getting married?", wouldn't you get to be a little withdrawn, bitter and cold towards them? Raul plays the role exactly the way I feel it should be played. He's the PERFECT Bobby. As always, his voice is amazing.

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I saw the final dress yesterday @ 2. my thoughts are almost the same as penguins. I really liked it, but I wanted to be blown away by the vision. I think my expectations were a little TOO high. that being said, I still thought it was very good. with a little tweaking over the preview period, it can be brilliant.

if you are planning to go, don't sit on the sides. the set is symmetrical, and will be a better experience if you can see what is happening on both sides.

What I loved- the vocal direction on all the chorus numbers- the singers are so strong and sound great together singing those chords on "we Looooooooove you"

I loved the little things you do together, you could drive a person crazy, someone is waiting, side by side, poor baby, Barcelona, and of course, being alive, in which Raul is quite exceptional. his voice is so strong, but when he pulls back, it is beautiful, filled with subtext, and disarming. this was my first time seeing him live, and I am now a fan. he deeply impressed me.

some things worked, some didn't. Doyle left room for applause after some songs, and didn't after others. Sometimes it was awkward, like after the great opening, they went right into the scene, and the audience didn't know what to think. I know Doyle had to do that after the first song to set up how the evening would go.

But I wanted to applaud after some of the great performances, and It just felt weird to me not to be able to.

The pacing in some places will need to be picked up. sometimes there were lulls, and sometimes dramatic pauses lasted a little too long for me, but it can all be forgiven because of the wonderful cast, concept, and direction.

Sondheim was there in the 3rd. or 4th row. of the orch. yesterday, with Doyle sitting in the mezz on the right side. and as the show ended, Doyle got right up, and passed by, scanning the audience's expressions. I loved watching that moment.


funny story- when I got to the theatre, there were about 2-300 playbills of "Ring of Fire" that had never been bothered to be discarded. I just found it funny, and thought that maybe the show was just too horrible to clean up afterward.

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yeah, there were some definate instrument flubs, but they each get their time to shine during side by side, and props to the actor continously walking his upright bass around that stage, while playing and singing at the same time.



oh yeah- one more thing. I felt the actors had a difficult time finding thier lights yesterday, which I know will get ironed out once they get more familiar with the stage. but those little spotlights on the stage moved constantly and they were so small and specific. but there was a lot of actors wandering out of their light while singing to get to another light. don't know what's going on, whether that is a lighting or directing issue.

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Updated On: 10/31/06 at 11:19 AM

^ On page 3 we discussed not being able to applaud for LADIES WHO LUNCH.

That is one thing I hope Doyle changes before it opens. I think they need to end it with a final instrumental "hit" like it usually ends. But here it just ends with her singing the last RISEEE acapella, and then they go straight into dialogue.

Updated On: 10/31/06 at 11:42 AM

No applause after LADIES??? I hope that changes by this Friday!

^ I wonder why the title song didn't get applause at the invited dress yesterday?


At the preview, the number received thunderous applause and cheers, it lasted quite a while.

I also wanted to applaud for ANOTHER HUNDRED PEOPLE. I felt Marta did a great job. The song is another very tricky song to sing, but she handled it so well. None of the Marta's on recordings have made it sound so simple.

Updated On: 10/31/06 at 11:54 AM

probably because Doyle noticed it was a very awkward moment for us because we wanted to applaud, but the scene started right away. I hope that that change will stay.

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Updated On: 10/31/06 at 11:55 AM

^ The majority of the songs DID get applause. Quite thunderous applause too.

But a few songs didn't get the opportunity for applause. Most notable LADIES WHO LUNCH. That's the only number I feel needs to be changed for applause. Otherwise I can deal with LITTLE THINGS, POOR BABY, SORRY-GRATEFUL, and a couple others not getting applause.

There was no applause after the title song when I saw it in Cincy, either. The transition to Harry and Sarah's book scene is so sharp, and I think it caught the audience a bit off-guard.

As far as this production (and not simply because it belongs to Raul), I'm gonna go with Being Alive as the 11:00. And it is TRULY show-stopping.

I REALLY hope they have posters tonight. I have a spot on my wall for one and everything.

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Updated On: 10/31/06 at 12:09 PM

My dad said when Stritch was in it that was the number people wanted to see. He said she was brilliant. Would you say "Ladies" is the most popular song from the show? I was never comfortable with the whole 11oclock thing. I never can decide. I mean "Lots Wife" is considered the 11Oclock in 'Caroline" but much prefer "Underwater".

I do recall going to the theatre quite often and not needing to applaud everything.

It serves its purpose yes but its so exciting and interesting when you realise how unecessary it is to the dramatic truth of the play.

Although some people seem incapable of getting over it. You dont go to theatre to applaud an 11 o'clock number. Perhaps there can be anew interpretations you know!

The only complaint I've seen that I don't understand, having seen the show in Cincinnati, is that Raul's Bobby is cold and emotionless. Perhaps it's my penchant for relating to antiheroes, but I felt that, while there's certainly a cynical and borderline-abrasive exterior to his Bobby, the depth of longing and hurt that lies underneath that was astoundingly obvious. Those choices were perfect in creating a character that's damaged, but that you can't help but root for to eventually find peace (whatever that ends up being for Bobby). I suppose many people are expecting a more carefree, conventionally charming Robert rather than one that's, outwardly at least, emotionally shut down.

Updated On: 10/31/06 at 12:22 PM