I wanted to post some thoughts, but I'm pretty sure Em covered just about everything. I went into tonight not knowing much about COMPANY, with the exception of bits of the title song, "Being Alive", and "Marry Me a Little". That said, I also went into it subconsciously comparing it to Sweeney Todd, which was a mistake on my part - especially since the two are so radically different. Needless to say, COMPANY certainly stands on it's own, and besides the obvious Doyle/Sondheim link that ties the two together, there is really no reason whatsoever for comparison.
I LOVED the set. It was crisp, chic, elegant, and dark (beautiful with the lights thrown in there). It filled up the stage really nicely, and didn't feel cramped at all. Everything was spaced out really well, too. I can't imagine that there is a bad place in this theater to see the show from; it looks to be excellent from all view points.
The actor-musician concept....did not feel like an onstage band. I thought it worked really well, definitely not distracting at all. I liked the few moments where the fact that they were playing instruments could enhance what was going on, like the flute being used as an answering machine "beep" at the very beginning, the saxes in "You Could Drive a Person Crazy", and of course, in "Being Alive". It's nice when you're able to make some type of connection, even when those connections have nothing to do with characterization. I really loved the concept of the husbands/wives/girlfriends actually being Bobby's company, instrumentally. In Being Alive, even when he sits down at the piano and starts to accompany himself, there is still that appropriate distance between him and them.
I know there have been a lot of complaints on the lack of choreography. What is there is quite limited, and besides a kick-line, I don't think it could even be really called choreography. Having never seen the original, I can't really say that it was lacking anything by not having it. And, this may seem like a cop-out, but I really did think the whole thing was analogous to a well-choreographed ballet. The blocking is great, and I really loved all the transitions between songs. It takes a lot to have fourteen people moving around so much - and to remain seamless and not distracting at the same time.
Raul was beyond words. He has such a presence and power. His acting and singing were equally excellent, and quite a treat. I do wish I could have been closer (I was second row of front mezzanine) to see his face a bit clearer; I think that sometimes because the rest of the stage was so dark, even when he had a spotlight on him, his face became washed out. Mr. Doyle was really spot-on when he said that his shows are best viewed from the mezzanine. That is definitely the place to be. You can see EVERYTHING.
The ensemble as a whole was so strong and powerful. I know someone said something yesterday about how vocally, they sounded really tight, but that instrumentally they were a bit off. Tonight they sounded spot-on. Special note has to go to Jane Pfitsch as Amy. She was hysterical and the audience LOVED her. Her "Getting Married Today" was neurotic and crazed, and she sang SO damn fast. It was great. If Heather Laws is apparently even better, I can't wait to see that.
I have no idea if this was something that will change once the Barrymore staff starts to see how the house is filling up, but for those thinking of buying student rush tickets vs. the $36 rear mezzanine seats, go with the rush! Tonight the rush seats were in the front row and front mezzanine. It was clear that the rear mezzanine was filled with people who just went for the cheap seats. The side sections of the front mezzanine were nearly empty, and an excellent place to see the show from.
I look forward to going back after opening to see what changes are put in place; it seems like Mr. Doyle likes to switch things a lot, as he did with Sweeney during it's preview period.
Because Emcee will get pissed if I live on her floor until Company closes.
Thanks for posting, Fantab. I like your comparison of the blocking to ballet; that's the perfect term for it. It's just so graceful and smooth, especially considering the fact that 13 people are all milling about the stage at the same time, all carrying instruments. Obviously blocking isn't something you're supposed to notice, but with both of Doyle's productions, it's just so seamless that you can tell a LOT of thought when into it. With most productions, blocking just seems to be slightly-organized meandering as opposed to very specific movements.
Like a firework unexploded
Wanting life but never
knowing how
That scream at the end was SO powerful and chilling. It was one of those great moments where you could feel the audience just waiting; you could have heard a pin drop.
The scream absolutely pierced right through me. He did the exact same thing in The Normal Heart, and as effective as it clearly is, I never, ever, ever wanted to hear that noise again, because it scared me so much and was so utterly heartbreaking. So when I saw Company in March, I heard him scream like that and I just started trembling, hoping it would stop. I too wonder if he can do that 8 times a week and still keep his voice in top shape. Maybe he'll tone it down some, I don't know. The thing about it is that that scream is similar to the way he sings, especially if he's singing a pop/rock score, so I'm pretty sure he CAN do it and still be ok.
As for the lighting, I did find it to wash out his face from far away at certain moments, from certain angles. His facial expressions are brilliant, so I'm looking forward to being able to see the show from up close to really get a feel for what he's doing. Seeing his face is a show in and of itself.
That would completely ruin that moment. I'm sure Raul can learn how to tone it down a bit in order to preserve his voice, if that does indeed become necessary.
Thanks to all who have posted thoughts on this so far. I'm seeing it next week and can't wait. It's one of my fav shows of all time. I did, however, always think that Raul was an odd casting choice (don't hang me, but I've never really understood what all the fuss is about. But I'm open to figuring it out!). Very interested to see what he does with Bobby.
I'm glad they seem to be upping the press. I know they're depending on word of mouth, but it seems like they're being a little bit too dependant on the fact that people who saw Sweeney will see this.
Nope, ljay, they only had hats and t-shirts. I'll get one eventually, though.
Queenbee, you're not alone in not understanding his appeal, but I'm really happy to see that people thusfar sharing your opinion are seeing Company and finally 'getting" it, so to speak. So I hope that happens for you, too. He's amazingly gifted, yet very theatrical, and doubtless one of our best actors. It's a different take on Bobby, but in all senses, IMO, utterly perfect. I hope you like him!
BSo, I think there's just less to be confused about, in general. With Sweeney, the instruments thrown in there seemed to muddle the plot for those who were unfamiliar with it. In Company, although some points are a tad ambiguous, it has absolutely nothing to do with the fact that they're playing instruments - but more with how the scenes are played out and have been directed.
I walked around all day thinking about how great it was. I really want to go back soon.
"We don't value the lily less for not being made of flint and built to last. Life's bounty is in it's flow, later is too late. Where is the song when it's been sung, the dance when it's been danced? It's only we humans who want to own the future too."
- Tom Stoppard, Shipwreck