Company

[Ade]

Oct 6, 2018 22:21:31 GMT David J said:

She improved so much by the end. Actually I didn’t mean to say she needs to project rather there were some notes she still needs to work on.

Whereas I didn’t quite believe her Marry me a little, her rendition of Being Alive was soft but quite sincere. Listening to that song for the first time it really hit home for me

Despite my quibbles a great debut performance that can only get better. Being at the front I could really seee how overwhelmed she was at the curtain call. Well deserved ovation

I need to see this production again. Not just to see Rosalie Craig but to really take in this musical.

A phenomenal ensemble production and its clear everyone are having a ball performing with one another.

Was in stalls A18 tonight and agree with the above. Rather lovely to see so much support for her. And I started to well up a bit too seeing her crying.

[Being Alive]

I’ll post tomorrow.

But this was absolutely incredible. In every single way. (And I don’t understand how Bobbie can possibly be a man)

[Stephen]

Great to hear of the response tonight!

A note for those still to see it...

I sat in W1 (stalls far right aisle seat in the very back row) DMT are good at being honest about restrictions to view and said that this view was "slightly restricted" however the only thing missed is the orchestra. At £40 this is a pretty good deal for this show and although it isn't "close" to the stage I didn't feel that it was too distant.

I have decided however that when I return I'll pay more for a dress circle seat as I got the impression this production probably looks best from there.

Also, many very polite audience members gave their standing ovations in the aisles. It wasn't a problem for me as I ovated too!

[lonlad]

This is wonderful

www.bbc.co.uk/radio/play/p06n0wdd

[frankubelik]

Ready to be shot down again here but being a traditionalist, the concept of a female Bobby did not work for me (in fact I actually thought it would have been better had SHE been gay) but that is largely to do with the casting of Ms Craig. I saw the show on Friday and gather she was off last night. For me she is bland and deeply uninteresing and whilst she has been OK in previous productions (City of Angels, Light Princess etc) this role exposes what she does not possess - charisma. I did not like the laid back "Crazy" and felt the boyfriends read as very "fey" - where are the real men??? These songs are not written for the male voice (Another Hundred People was so poorly delivered and that terrible choreography too) and I was not thrilled once. Even Patti who otherwise nails every line, has been directed to hold back, but she is the singularly most interesting and compelling person on stage which is probably why she's been directed that way which is a great shame. The staging of "Side by Side" is clunky to say the least and whilst "Getting Married....." very well performed I was bemused at the ovation it received. Added to this, the audience was so annoying (which seems part of the West End these days), I had a hugely disappointing evening which I am still recovering from!

[JJShaw]

I too saw it last night, I queued up for a daystar and while only being about 8th? in line I was given Dress Circle J14 which was actually a fantastic seat!

This production is wonderful and I'm so glad to see that the word of mouth is getting round, the line was super busy on Saturday considering the theatre monkey reports were saying it had started off quiet.

Jennifer was really good as Bobbi, and considering it was just hours to learn a role that leaves the stage just a handful of times (I only really clocked her leaving for Not Getting Married) I would agree that her Marry Me and being Alive were a little soft at times but I think that was just nerves of not really doing it before.

Drive a Person Crazy and Not Getting Married were send outs for me, as well as Side by Side. The direction and visual designs were wonderfully chic and modern, juxtaposed with having the orchestra above in full view it was beautiful! Jonathan Bailey I hope will be recognised come awards season, and Patti Lupone slotted in perfectly, and her diction was impeccable!

Another Hundred People felt very out of place and as if they didn't know what to do with the song. I like some of gender swaps but I wish more of the couples were swapped too (they can still be heterosexual but would have been super interesting to see those dynamics swapped too)

Im sad I won't get a chance to see this again, I could see see them filming it or potentially a production transfer to NY?

[David J]

I couldn't even tell half of what was going on during Another Hundred People. Sitting at the side of the front rows is great but the blocky set design does mean you miss some stuff.

Next time I'll look to get a seat further back

[Deleted]

Noticed general sale tickets are now on TodayTix, not just the rush tickets. Browsing last night (in work, tut) and centre Row N stalls came up for £50. Didn't snap it up and haven't been lucky on the draw since. Kicking myself.

[Deleted]

Oct 7, 2018 8:20:32 GMT JJShaw said:

I too saw it last night, I queued up for a daystar and while only being about 8th? in line I was given Dress Circle J14 which was actually a fantastic seat!

What time did you queue?

[Deleted]

Oct 7, 2018 9:37:16 GMT @remark said:

Noticed general sale tickets are now on TodayTix, not just the rush tickets. Browsing last night (in work, tut) and centre Row N stalls came up for £50. Didn't snap it up and haven't been lucky on the draw since. Kicking myself.

And 30 minutes later general sale tickets have gone off TT. Perhaps they're monitoring this thread and have taken sale offline whilst they check seat prices for possible errors.
If you're reading TT, discount please! Austerity'n'all.

[dontdreamit]

Oct 6, 2018 20:18:52 GMT theatrefan77 said:

They have now released tickets in Box B Dress Circle for every performance, £19.50 each. Just got my tickets.

Not sure how restricted the view will be, but it sounds like a bargain

Thank you so much for this! We’ve managed the date we wanted later this month at a bargain price 🙂

[theatrefan77]

You're welcome!

Hope the view is not too bad. I'm going next week.

[JJShaw]

Oct 7, 2018 9:56:51 GMT @snutte said:

Oct 7, 2018 8:20:32 GMT JJShaw said:

I too saw it last night, I queued up for a daystar and while only being about 8th? in line I was given Dress Circle J14 which was actually a fantastic seat!

What time did you queue?

I got there just after 8am, there were a few people in front and behind me that wanted matinee seats (but there wasn't one that day) I would say around 20 people were queuing by 10am

[Deleted]

Another lyric question - how have they altered the 'Bless this day' section of Not Getting Married, which mentioned husband joined/yoked to wife, bless this bride, etc...?
Thanks!

[d'James]

Is this still in previews or has it opened properly?

[Being Alive]

Let’s preface this with I haven’t seen Company before and I didn’t know it all together that well. Other people might have different views but this is what I came out feeling.

This production is brilliant.

For me, it cements Marianne Elliot as the best theatre director in this country right now. I genuinely sat there going ‘I don’t understand how this could possibly work as a man’. Apparently the changes to the book aren’t enormous, so people who have seen it originally still have the show they know, but from what I watched, Company is a woman’s story, and not a man’s.

No Rosalie Craig which was a shame, but Jennifer Saayeng stepped in with very little rehearsal (as Marianne told us pre show) and absolutely nailed it. To see Bobbie played by not only a woman, but a black woman, was really special I thought. The cast are universally excellent - with the highlight absolutely being Jonathan Bailey and Not Getting Married Today, which is probably the best musical number I’ve seen in London since I saw the title number in 42nd Street 18 months ago (and everyone was going MENTAL for it).
And it was a real delight to see Patti - I’ve waited a long time to see her in the flesh and it was pretty awesome to see - even if she did play herself, but I’m sort of ok with that because Joanne is so like Patti I think ...

The design gave me such Angels in America vibes (thank you Marianne and Bunny Christie!) and I liked all the inter-connecting stuff. Also so nice to be able to SEE the orchestra on high, who were fantastic all the way through.

I loved it. But I also fully appreciate why people don’t or they have a problem with what Marianne has decided to do with it.
But I’m gonna move in to the Gielgud till December 22nd, because this is my kind of musical.
Brilliant.

[Deleted]

Oct 7, 2018 14:16:26 GMT d'James said:

Is this still in previews or has it opened properly?

It opens on or around the 16th I believe. It's certainly in previews this coming week. 

[Deleted]

I'm so excited to see this next Saturday! Seeing Patti live, I may die so if you don't hear from me after you know why. 😍😍

[Scswp]

Oct 7, 2018 14:32:21 GMT danieljohnson14 said:

I'm so excited to see this next Saturday! Seeing Patti live, I may die so if you don't hear from me after you know why. 😍😍

Hope you have a great time. Patti’s voice has aged very well, as demonstrated just 2-3 years ago in her London concerts (singing sections of Evita and With One Look in the original keys). Her voice, whilst still in great shape, is obviously not quite as powerful and ‘loud’ (for want of a better word) as it once was though. To me, it is ‘thinner’. In Sunset Boulevard, I can honestly say her power and volume were phenomenal- I had never heard vocal power like that before (or, indeed, since) and it really was ‘jaw-dropping’ at the time. In concerts I’ve seen, in War Paint and even in her much-praised Gypsy (all of which I saw live with Patti), she sang well and with some power, but it was a much ‘tamer’ version of her vocals if that makes sense? This is not a criticism. She is 70 and her range is still wide. I’m a fan and will see her in Company later this month - but I’m not expecting that same ‘jaw-dropping experience. Hope you enjoy her performance - I’m sure we both will, but my God, I will never forget her Sunset performance in early 1994!!!

[jay78uk]

Oct 5, 2018 10:22:46 GMT oldstager said:

Isn't it interesting that they only speak with real wit and originality when using Sondheim's lyrics?  The pedestrian book is not helped by this busy scene changing production and the addition of laboured and lengthy slapstick jokes.  

I absolutely agree. The score and lyrics shine and feel remarkably contemporary- it's the book that lets things down. Whilst I really enjoyed this production, it feels like the update is a bit of a half way house. Aside from a character waving around an ipad at one point, the spoken scenes generally feel straight from the 1970s despite the programme stating it's set in modern day NYC.

[Deleted]

Question:
Given the show is set in New York and they have that big wonderful 'COMPANY' Neon-esque logo pre-set.... Are they clever with it and do they set the scene by dimming out the letters to hint the setting when the show starts or have they missed a trick?
COMPANY

[oldstager]

Oct 6, 2018 22:30:29 GMT oldstager said:

Oct 6, 2018 13:34:00 GMT Steve said:

A little jealous you saw Dean Jones. I've always considered the documentary footage of Sondheim directing him singing "Being Alive," for the cast recording, while Elaine Stritch and the cast will him on from the sidelines, to be the definitive performance of that song.

Was he really "dull" in his live performance?

If you have any specific recollections of Dean Jones in the role, I'd love to hear them.

I just remember the character being very bland which in my extreme(!) youth I may have blamed Mr.Jones for - as I said I found some subsequent Bobbies equally dull.  I do remember that the theatre gossip in NYC at the time was that either Prince or Sondheim never really like him in the role and I know he did leave the cast early (I will try asking some other "veterans" of the time if they remember the details) and he was replaced  by Larry Kert

who was considered to be a better singer but I thought was really "wooden" as an actor. Seeing it again the other night rekindled so many memories of those early days and the stories surrounding them and my own experience of sitting bewitched in a very empty Winter Garden Theatre watching that original knockout production of FOLLIES (with Yvonne De Carlo one of my movie obsessed schoolboy crushes dazzling me with I'M STILL HERE).

Then later Lansbury and Hearn in SWEENEY TODD and Carol Burnett in PUTTING IT TOGETHER etc. Such joyous nights in the theatre.

OK - I was very lucky to see Dean Jones as it appears he left after only four weeks of regular performances (i.e. after press night) and Larry Kert who was his 1st cover took over for the rest of the run. Apparently after he had done the album (recorded during previews I think) Kert wanted to leave because he was under mental stress and the official line was that Prince asked him to stay and play the press night and for the first few weeks. Kert was already a Broadway name (Tony in WEST SIDE STORY) so it would explain why he was the cover if he knew he was definitely taking over. I was also reminded that when Elaine Stritch left the cast 'Joanne' was played by Vivian Blaine ('Adelaide' in the original Broadway cast and the movie of GUYS & DOLLS and by the legend that was Jane Russell.  Searching through my diaries to see where in the World I was in 1971.  How did I miss that one?!

[oldstager]

Oct 7, 2018 15:11:03 GMT oldstager said:

Oct 6, 2018 22:30:29 GMT oldstager said:

I just remember the character being very bland which in my extreme(!) youth I may have blamed Mr.Jones for - as I said I found some subsequent Bobbies equally dull.  I do remember that the theatre gossip in NYC at the time was that either Prince or Sondheim never really like him in the role and I know he did leave the cast early (I will try asking some other "veterans" of the time if they remember the details) and he was replaced  by Larry Kert

who was considered to be a better singer but I thought was really "wooden" as an actor. Seeing it again the other night rekindled so many memories of those early days and the stories surrounding them and my own experience of sitting bewitched in a very empty Winter Garden Theatre watching that original knockout production of FOLLIES (with Yvonne De Carlo one of my movie obsessed schoolboy crushes dazzling me with I'M STILL HERE).

Then later Lansbury and Hearn in SWEENEY TODD and Carol Burnett in PUTTING IT TOGETHER etc. Such joyous nights in the theatre.

OK - I was very lucky to see Dean Jones as it appears he left after only four weeks of regular performances (i.e. after press night) and Larry Kert who was his 1st cover took over for the rest of the run. Apparently after he had done the album (recorded during previews I think) Kert wanted to leave because he was under mental stress and the official line was that Prince asked him to stay and play the press night and for the first few weeks. Kert was already a Broadway name (Tony in WEST SIDE STORY) so it would explain why he was the cover if he knew he was definitely taking over. I was also reminded that when Elaine Stritch left the cast 'Joanne' was played by Vivian Blaine ('Adelaide' in the original Broadway cast and the movie of GUYS & DOLLS and by the legend that was Jane Russell.  Searching through my diaries to see where in the World I was in 1971.  How did I miss that one?!

Sorry - I meant Jones wanted to leave of course.  SENILE Old Stager!

[Jon]

Does anyone know why the Dress Circle Boxes on the sides are £19.50? Have seen they are available but not sure why they're cheaper than the stage boxes

[theatrefan77]

According to Theatremonkey Dress Circle Box B offers 'adequate viewing angle with only a little of the stage obscure'.

£19.50 sounds like a bargain