Company

[steven22]

Jan 7, 2019 7:25:12 GMT Rory said:

Jan 6, 2019 23:03:20 GMT steven22 said:

Thank you! I’m leaning toward Company...

Company

And I decided on Company! Flying in Thursday, Jan 24 and seeing Company at 2:30 and Hadestown at 7:30!

Very excited

[squidward]

Jan 2, 2019 11:15:04 GMT @sharpe12 said:

Dec 31, 2018 14:12:23 GMT jeffrey said:

Agree 100%. I think he brings more nuance to his role than Jonathan who I found to be a bit overwrought and lacking in subtlety, precariously teetering on the very thin line between character and caricature. I know I am in the minority here in regards to JB.

While I enjoyed his performance, your description is spot on - definitely teetering on the very thin line between character and caricature. MORE of the OTT-gay than Stanford Blatch IMO (who's favourite musical incidentally is not a Sondheim but Miss Saigon). Anyway, I don't think I'd give him an Oliver for it.

Fleeshman is a much more nuanced and subtle performance which I loved (and of course his body is something else lol).

I’m with you in the minority camp ( no pun intended) about Jonathan Bailey’s performance. I was sitting in the third row of the stalls and for me, seeing his interpretation of NGM made me cringe.

In my humble opinion it was so OTT that it felt like something from a pantomime.
I also wondered if all the praise heaped upon this number previously had caused him to amp it up to the point where, for me, it ceased to be funny at all.

I actually felt sorry for Alex Gaumond having to act opposite that colossal gurning and thought he actually would have interpreted the number better himself ( anyone that saw him in Top Hat,Legally Blonde or indeed Matilda will know that he has very funny bones).

I thought some of the gender swap worked better than others and kind of wished that NGM hadn’t been given to the gay couple given the on-going fight to legalise gay marriage across the world, but maybe that’s just me overthinking it.

I thought ME’s direction and BC’s design are both top notch and there were some lovely performances, but even with the gender swap, the material felt rather outdated to me at this point. All in all, I preferred the Donmar version with Adrian Lester from many moons ago.

[LaLuPone]

I'm going back in February on the Under 25's deal thing and I can't decide between Row C of the circle (as close to the front of the circle I can get) or Row E/F of the stalls. On one hand I'd really like to sit close to take in all the facial expressions, details etc. and really connect with it but then again I'd love to be able to take in the production as a whole (+ the band) from up in the dress. Any opinions?
(I was Row Q of the stalls for my first visit)

[Mark]

I'd definitely go with E/F Stalls.

[crabtree]

Down from Manchester for the matinee today , and have been giddy all the way back, but here's an interesting thought. Bring to mind the tic-toc number with multiple Bobbies, the door slamming, and all that and then look at this Oscar winning short animated film from Poland in the 80's. do you think this is a conscious reference - I would be very surprised as theatre folk generally no not have animation on their radar. I know as I'm both theatre and animation background, but Tango, the short film, is one of my favourite masterpieces. Company even played with the doors as this film does, and had echoes with the baby. The director of this short film, I believe, had a breakdown as it was so complicated to choreograph. Today - computers. but give the film a watch and stick with it, recalling that number from Company.

[Deleted]

Jan 10, 2019 23:06:13 GMT Mark said:

I'd definitely go with E/F Stalls.

Agree 100%

[Someone in a tree]

I went to the 3 rd preview and liked it. Last night I went and loved it. Every aspect works brilliantly.

I even liked the pot scene, normally seems dated but here it worked. I also really liked Rosalie Craig her performance has really developed.

I still think the script could do with a trim. ‘Butterfly and baby oil’ goes on a bit and Barcelona says it so much better 5 minutes later but hey hum

In this version did PJ ever appear in act 2 ?

Hurrah’s all round.

I’ll be buying the published script in a few weeks time and I’m praying for the recording to hurry up #ticktock

[LaLuPone]

Apparently yesterday was the 10 year anniversary of “WHO DO YOU THINK YOU ARE?! GET ‘EM OUT”
I hope Patti marked the occasion with an extra vodka stinger!

[Deleted]

Jan 11, 2019 21:30:29 GMT LaLuPone said:

Apparently yesterday was the 10 year anniversary of “WHO DO YOU THINK YOU ARE?! GET ‘EM OUT”
I hope Patti marked the occasion with an extra vodka stinger!

Iconic! Happy 10th Anniversary Patti. 🙌🙌

[Someone in a tree]

Jan 10, 2019 23:34:06 GMT crabtree said:

Down from Manchester for the matinee today , and have been giddy all the way back, but here's an interesting thought. Bring to mind the tic-toc number with multiple Bobbies, the door slamming, and all that and then look at this Oscar winning short animated film from Poland in the 80's. do you think this is a conscious reference - I would be very surprised as theatre folk generally no not have animation on their radar. I know as I'm both theatre and animation background, but Tango, the short film, is one of my favourite masterpieces. Company even played with the doors as this film does, and had echoes with the baby. The director of this short film, I believe, had a breakdown as it was so complicated to choreograph. Today - computers. but give the film a watch and stick with it, recalling that number from Company.

Tick Tock certainly has a feel of the film.

[scarpia]

Apologies if this has been asked recently (couldn't find any posts on it), but do we know when the cast recording is out?

I loved this production - along with Julius Caesar at the Bridge Theatre, to me it was the best thing I saw in 2018. Some of the people I know involved with the original seem rather negative about it because of the changes, but I loved this.

[Deleted]

Jan 12, 2019 19:19:50 GMT scarpia said:

Apologies if this has been asked recently (couldn't find any posts on it), but do we know when the cast recording is out?

I loved this production - along with Julius Caesar at the Bridge Theatre, to me it was the best thing I saw in 2018. Some of the people I know involved with the original seem rather negative about it because of the changes, but I loved this.

No word on when the recording will be out- I'd imagine they're trying to get it before the end of the run to obviously shift a few more copies/tie in the promo, but nothing has been announced. 

[Deleted]

I finally got round to seeing this earlier in the week, and I still haven't really made my mind up what I thought about it.

I certainly didn't love it the way most people here seem to. I'm exactly its target audience - getting older, not married or in a relationship whereas many of my friends are, and I am very aware of that fact. So I'm not sure whether it left me more uplifted at the end (I do like Being Alive), or frankly just a bit depressed. Probably doesn't help that I've never been a huge Sondheim fan (not for want of trying).

I didn't dislike it, the gender swap absolutely works and it certainly had its moments - Not Getting Married is absolutely hilarious, Mel Giedroyc is her usual wonderfully funny self, and Rosalie Craig does sarcasm very well, but overall I wasn't wowed. Even the great Patti LuPone I thought was good but not as good as I was expecting from all the reviews I've read here.

Maybe I was expecting more given all the raves on here, but I was just a bit underwhelmed. The audience was fairly subdued for the most part as well, which probably didn't help. I'm glad I saw it, but I won't be rushing back. The friend I was with felt much the same way.

[Deleted]

Meant to add to my previous post that I didn't think any of the cast indiviually did anything Olivier-worthy, but as a whole I have no doubt it will win Best Revival.

[wickedgrin]

Interesting post @posterj above.

I think the brilliance of the piece is that different people will take different views on the material. Dealing with marriage, age, relationships, singledom etc. the piece will resonate and entertain to a greater or lesser extent depending on the individuals personal experiences.

I thought the gender swap worked brilliantly (despite my initial reservations when I first heard about it) and the production is IMO the best in the WE at the moment!

[fiyero]

Jan 14, 2019 18:42:40 GMT @theatremonkey said:

Jan 13, 2019 16:45:08 GMT @posterj said:

I'm exactly its target audience - getting older, not married or in a relationship whereas many of my friends are, and I am very aware of that fact.

Funnily, it was more effective for me when I saw it at about the age Bobb(y or ie) was. Now I'm older, I did get an "honestly, time will show that you can handle it" feeling which made it less immediate.

I am 35 in 2 weeks. This hit home for me! I knew the concept of the show roughly but didn't realise 35th birthday was so important. I'm a little upset my birthday is on a Sunday so I can't share it with Bobbie.

[mrbarnaby]

Jan 13, 2019 16:45:08 GMT @posterj said:

I finally got round to seeing this earlier in the week, and I still haven't really made my mind up what I thought about it.

I certainly didn't love it the way most people here seem to. I'm exactly its target audience - getting older, not married or in a relationship whereas many of my friends are, and I am very aware of that fact. So I'm not sure whether it left me more uplifted at the end (I do like Being Alive), or frankly just a bit depressed. Probably doesn't help that I've never been a huge Sondheim fan (not for want of trying).

I didn't dislike it, the gender swap absolutely works and it certainly had its moments - Not Getting Married is absolutely hilarious, Mel Giedroyc is her usual wonderfully funny self, and Rosalie Craig does sarcasm very well, but overall I wasn't wowed. Even the great Patti LuPone I thought was good but not as good as I was expecting from all the reviews I've read here.

Maybe I was expecting more given all the raves on here, but I was just a bit underwhelmed. The audience was fairly subdued for the most part as well, which probably didn't help. I'm glad I saw it, but I won't be rushing back. The friend I was with felt much the same way.

I’m bemused by how much people love it too. It has some good moments but some of it is so badly staged and directed. And Patti and Rosalie do not deliver the goods at all.

[mrmushnik]

Jan 14, 2019 21:32:38 GMT mrbarnaby said:

Jan 13, 2019 16:45:08 GMT @posterj said:

I’m bemused by how much people love it too. It has some good moments but some of it is so badly staged and directed. And Patti and Rosalie do not deliver the goods at all.

I completely agree with Mr B....
Also, I don’t get the extent of the adulation showered upon Messers Bailey and Fleeshman. IMO both gave caricatured and over cooked performances. NGMT gets a great response but that’s mainly due to the comedy appearances by the Priest. Barcelona is popular because of Mr Flesshman’s terrific torso, but please let’s not confuse that with a great performance. I hope that when the Olivier nominations are announced that some of the subtler supporting performances in other shows get recognised.

[crabtree]

I'm astonished people are luke warm to this....of course musicals are an acquired tast, but Marianne Elliot, as she always does, has reinvented a tired old (heck I nearly used the word warhorse) piece, and turned it on it's head, finding new layers, new perceptions, and presenting it with sophistication and wit. It certainly works for me.

[Deleted]

Jan 14, 2019 23:19:25 GMT crabtree said:

I'm astonished people are luke warm to this....of course musicals are an acquired tast, but Marianne Elliot, as she always does, has reinvented a tired old (heck I nearly used the word warhorse) piece, and turned it on it's head, finding new layers, new perceptions, and presenting it with sophistication and wit. It certainly works for me.

Having now seen it three times, I still stand by my first thought that this is one of, if not, the best show I've ever seen. I think it's absolutely amazing.

[Deleted]

Jan 14, 2019 23:19:25 GMT crabtree said:

I'm astonished people are luke warm to this....of course musicals are an acquired tast, but Marianne Elliot, as she always does, has reinvented a tired old (heck I nearly used the word warhorse) piece, and turned it on it's head, finding new layers, new perceptions, and presenting it with sophistication and wit. It certainly works for me.

You shouldn't be astonished that people have different opinions to you...

Anyway, I don't deny it's an inventive production, but I think it's over-hyped and the subject matter can be depressing!

[princeton]

Jan 15, 2019 0:26:27 GMT @posterj said:

I think it's over-hyped

I think this might be a key factor in audience expectation and enjoyment, particularly for a show like this.

I'm an unashamed Sondheim devotee. I saw this production (I've seen at least 10 previous productions) in preview and having being slightly sceptical about the updating and gender switch I loved it - one or two niggles notwithstanding. It was up there with my favourites. The audience, too, lapped it up. I saw it a few weeks later - and even though the element of surprise had gone - I still adored it.

I saw it for a third time last week - an almost full house - unlikely to be rabid Sondheim fans as it was now into the second booking period but no doubt lured by the plethora of five star reviews and a desire to see the latest smash hit musical. To say the atmosphere was muted would be an understatement. Scene after scene played to almost no response. The karate scene, the balcony scene, the pot smoking scene - they all seemed to drag on forever barely raising a laugh. Another Hundred People - meh. Only with Getting Married Today did the audience, and the production, seem to leap into life - though slumping immediately after.

The interval came and went - and things were little better. The audience seemed baffled by Tick, Tock, amused by Barcelona and entertained by Ladies Who Lunch. Being Alive, which had previously brought the house down - received enthusiastic applause - no more. And then it was over. When I was leaving I heard "It wasn't what I was expecting", "I wouldn't have given it five stars" "I'd not want to watch that again" and most deadly "It wasn't really a proper musical was it".

In almost every respect it was exactly the same production which I'd seen, and loved, and raved about, twice before - and yet somehow it wasn't. It was the same actors, singing the same songs, saying the same lines - the only thing which was difference was the audience - and that had completely transformed the show. I had no desire to see it again, I wouldn't give it five stars. I don't know what the audience was expecting - maybe tap dancing, maybe barricades, maybe singing animals - but this wasn't it.

Honestly it was one of the oddest evenings I've spent in the theatre. I apologised to my friend - oh it's OK I quite enjoyed it - she replied. But that wasn't really enough - I'd promised groundbreaking brilliance, near perfection - not mildly entertaining.

So I don't really know what the take out is - was I just unlucky to go on an evening with 900 people had booked for the wrong show, do I just have to accept that not everyone thinks Sondheim is a god, or is it a case of over praised and over priced and so not able to live up to expectations?

The only thing that I do know is that I immediately booked for the last night. I couldn't let this be my abiding memory. Fingers crossed.

[Rory]

princeton's post really sums up how the alchemy of the great theatrical experience depends so much on the audience's reaction. The night I saw Company in late November it was electric. The audience was 110% up for it and the actors fed off this energy. It made it one of the best nights of theatre I'd ever experienced. The worry that great memories might be diminished is one of the reasons I rarely see things twice. I prefer to leave it perfect in my mind.

[Deleted]

http://instagram.com/p/BsoPI3rHOaD

[LaLuPone]

Jan 15, 2019 7:56:41 GMT @remark said:

http://instagr.am/p/BsoPI3rHOaD

I was going to ask if she’s going to cameo in the Sunset Boulevard movie...