Company

[lonlad]

Princeton's post above scares me as someone who has tickets for it three more times until it ends, including the closing performance. But I am surprised that the piece on its own merits - Sondheim fetishist or not - doesn't cross the footlights more directly, urged on by Rosalie's unbelievable warmth and likability. I go with hands tightly clasped to the three remaining shows for which I have booked. Maybe Patti just needs to stare the crowd into submission, as she does Bobbie?

[Deleted]

I love this production, but I don't think I've ever seen warmth from Rosalie.....

[Deleted]

Also I know we've been over this and over it....but the production/gender swap can't really do anything to a book/score that is....well what it is. Elliott and co are GOOD but without actually re-writing Company, then Company is still Company. So odds on if you're going to be irritated by non-linear storytelling 'not much of a story' etc however great everyone is, it ain't gonna happen.

On which note 'It's not a proper musical' has been bounced about since the 70s....

[viserys]

This ^

I'd like to add that so much also depends on your own mindset and whether characters appeal to you. I was SO very sceptic about this, but found that Bobbie, as played by Rosalie, directly spoke to me, having been there as a 35 year old single woman myself.

Many others may not care for her, be it that they're male, or one of those types who've been in relationships ever since they had their first boyfriend at 15 or whatever. Personally I hated the couples in Follies intensely, especially Sally, as that kind of needy coupledom is so alien to me, so I'm afraid that show did nothing for me, while many many people will probably identify with her or Phyllis or both or everyone.

[Deleted]

The comments about the audience are bang on. Audience was very muted first time I saw it, but I was in that side box so I had prepared myself to not feel so much ‘part of it.’ Audience last week were completely up for it, and that, coupled with being in the stalls, made it a more remarkable performance for me.

[mrbarnaby]

Another Hundred People is the worst staged number I’ve ever seen on a stage anywhere. And the guy singing it gives the worst performance I’ve ever seen. I didn’t know where to look for embarrassment at the whole thing.

[Deleted]

Honestly I've no memory of the audience when i was there (except the adorable girl in front of me who fully lost her sh*t at the sight of Patti) but then I did see it a couple of hours after Heathers so frankly ANYTHING would have felt calm after that.

[mrbarnaby]

Interesting. I saw an early performance and it was full of west end wendies reacting to EVERYTHING.. so it’s kind of good to hear that ‘regular’ audiences aren’t whooping the house down.

[Deleted]

Jan 15, 2019 9:19:03 GMT mrbarnaby said:

Interesting. I saw an early performance and it was full of west end wendies reacting to EVERYTHING.. so it’s kind of good to hear that ‘regular’ audiences aren’t whooping the house down.

Agree - first time I went audience were primed and were borderline hysterical. It was ABSOLUTELY over-hyped. Like Hamilton. The Wendies having decided it was amazing before they even stepped through the door. Actually can make it difficult to just take in the piece when you feel like an outsider in the club.

Still, I found there was much to enjoy and booked again for February on GILT. You can add me to the list of people relieved that the audience has become more 'regular.' I hope this happens sometime at Hamilton so I can check that out again.

[Someone in a tree]

Jan 15, 2019 9:19:03 GMT mrbarnaby said:

Interesting. I saw an early performance and it was full of west end wendies reacting to EVERYTHING.. so it’s kind of good to hear that ‘regular’ audiences aren’t whooping the house down.

The 3rd preview staging of People was cluttered and not very well sung. Last Thursday was not as busy and better sung.

I still think this song requires no stageing, well just a person in a spotlight

[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.

People have different tastes. And Sondheim definitely isn't for everyone. And for most normal theatregoers, this isn't a tired old piece they've seen a dozen times, but something they're seeing for the first time, or maybe that they saw once a decade ago. You can't see new layers and new perceptions if you're not massively familiar with a piece already, and I bet only a small percentage of the audience are that.

[Deleted]

Some people's expectations are completely different to my own (and, as an extension, some audiences and audience members are completely alien to me in their reactions). Company is a show for me, it touches me, it thrills me, so I am the kin of any audience member that feels similarly and those who aren't appear (as I say) alien. In the opposite direction (with an example I've oft quoted) is 42nd Street; to me it feels like utterly shallow, banal, spectacle. I can rationalise it but I cannot feel what they feel.

The problem comes when people mistake taste for quality. The quality is obvious in both, yet I just like one and not the other. If anyone tries to claim that one is 'good' and the other 'not good', however, then that is when I part company (no pun intended). They have totally misunderstood the nature of quality and its relation to audience reaction, feelings have obliterated rationality.

[BurlyBeaR]

I think it can depend on what night you’re there and where you’re sat too. Monday night up in the nosebleeds... you’re going to struggle to be amongst a really buzzing audience. Someone had that rather underwhelming experience at the closing of 42nd St the other night when down in the stalls it was totally different.

[Deleted]

Jan 15, 2019 10:34:46 GMT @theatremonkey said:

I admired it as a production, but truthfully the changes left me cold as ice, alas, as did a few of the performances.

That’ll be the ice cubes in the drink Miss Patti threw in your face

[Deleted]

Jan 15, 2019 2:04:18 GMT princeton said:

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.

That's quite possibly part of the problem for me - aside from one person, the audience was very subdued. So much so, that the one person who was reacting and laughing loudly frankly got irritating by halfway through Act 1. Even she stopped in Act 2.

There was a partial standing ovation at the end, but even with that it wasn't a rapturous reception, and there were plenty of people (me included) who didn't feel at all inclined to stand.

I didn't feel warmth or any real charisma from any of the characters - I appreciated Bobbie's sarcasm at times when the couples were being particularly ridiculous, but I otherwise didn't feel particularly empathetic to her at all despite being in pretty much the same situation!

[Deleted]

Jan 15, 2019 9:15:12 GMT mrbarnaby said:

Another Hundred People is the worst staged number I’ve ever seen on a stage anywhere. And the guy singing it gives the worst performance I’ve ever seen. I didn’t know where to look for embarrassment at the whole thing.

I detested the staging for this number and hope it is revisited if this transfers to Broadway.

[distantcousin]

Jan 15, 2019 2:04:18 GMT princeton said:

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.

You've pretty much summed up my reactions to the time I sae it. Although I was fascinated by Tick Tock.  It got the reaction I think it warranted. I liked it very much. No massive desire to see it again though.

Describing Sondheim as a god suggests he is someone omnipotent and loved by the masses. I would describe him as neither. He is a more of a cult leader if anything - worshipped by a few.

[distantcousin]

Jan 15, 2019 8:32:09 GMT lonlad said:

Princeton's post above scares me as someone who has tickets for it three more times until it ends, including the closing performance. But I am surprised that the piece on its own merits - Sondheim fetishist or not - doesn't cross the footlights more directly, urged on by Rosalie's unbelievable warmth and likability. I go with hands tightly clasped to the three remaining shows for which I have booked. Maybe Patti just needs to stare the crowd into submission, as she does Bobbie?

I found her neither likeable nor warm.

I think unfortunately one of the downsides of the gender swap has made her quite a surface-level, compartmentalised woman quite out of touch with her emotions. (not the sort of person I would relate to easily in real life)

[Deleted]

Jan 15, 2019 11:31:23 GMT jeffrey said:

Jan 15, 2019 9:15:12 GMT mrbarnaby said:

Another Hundred People is the worst staged number I’ve ever seen on a stage anywhere. And the guy singing it gives the worst performance I’ve ever seen. I didn’t know where to look for embarrassment at the whole thing.

I detested the staging for this number and hope it is revisited if this transfers to Broadway.

See I loved the staging of this as a Company first-timer. Whilst I didn't particularly like PJ as a character I was happily engrossed in the action throughout the carriages. Seeing the rhythm of the music reflected subtly in the movement and choreography was, for me, a highlight. I thought it was a very good commentary on what goes on in busy public spaces, like public transport, where everyone actively alienates themselves ("It's a city of strangers") - the inverse of what Bobbie is experiencing instead being alienated by her company ("Another hundred people just got off of the train").

[Deleted]

'Another Hundred People' as a number isn't as musically satisfying because it is split up by dialogue. Cast recordings and cabaret versions merge the sections together making a more satisfying build. In situ it is quite bitty and doesn't really have the same impact.

[sf]

Jan 15, 2019 2:04:18 GMT princeton said:

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.

I saw it in October while it was still in previews, and the audience response (as you describe elsewhere in your post) was uproarious. I'm going back twice before it closes (late February and then late March), and it's going to be very interesting to see how well it holds up to repeat viewings.

[Deleted]

Is it too early to do a closing night roll call? Is there potential for it to turn into a Theatre Board drinks?

[wickedgrin]

Jan 15, 2019 9:29:28 GMT @sharpe12 said:

Jan 15, 2019 9:19:03 GMT mrbarnaby said:

Interesting. I saw an early performance and it was full of west end wendies reacting to EVERYTHING.. so it’s kind of good to hear that ‘regular’ audiences aren’t whooping the house down.

Agree - first time I went audience were primed and were borderline hysterical. It was ABSOLUTELY over-hyped. Like Hamilton. The Wendies having decided it was amazing before they even stepped through the door. Actually can make it difficult to just take in the piece when you feel like an outsider in the club.

Still, I found there was much to enjoy and booked again for February on GILT. You can add me to the list of people relieved that the audience has become more 'regular.' I hope this happens sometime at Hamilton so I can check that out again.

I am pleased I am not the only one who has felt alienated from the rest of the audience in a WE theatre recently. I am a gay man but just loathed the gay West End Wendies around me both at this and The Inheritance. Preened, plucked and polished determined to be "seen" and heard. I suspect it took them all afternoon to get ready! Greeting acquaintances as long lost relatives in the foyer blocking the space. No wonder I am single as on occasions like this I hate 90% of gay men!

[Deleted]

Jan 15, 2019 17:40:22 GMT wickedgrin said:

Jan 15, 2019 9:29:28 GMT @sharpe12 said:

Agree - first time I went audience were primed and were borderline hysterical. It was ABSOLUTELY over-hyped. Like Hamilton. The Wendies having decided it was amazing before they even stepped through the door. Actually can make it difficult to just take in the piece when you feel like an outsider in the club.

Still, I found there was much to enjoy and booked again for February on GILT. You can add me to the list of people relieved that the audience has become more 'regular.' I hope this happens sometime at Hamilton so I can check that out again.

I am pleased I am not the only one who has felt alienated from the rest of the audience in a WE theatre recently. I am a gay man but just loathed the gay West End Wendies around me both at this and The Inheritance. Preened, plucked and polished determined to be "seen" and heard. I suspect it took them all afternoon to get ready! Greeting acquaintances as long lost relatives in the foyer blocking the space. No wonder I am single as on occasions like this I hate 90% of gay men!

This sums up my thoughts on this topic perfectly. Very well put wickedgrin

[Deleted]

Jan 15, 2019 16:17:38 GMT @remark said:

Is it too early to do a closing night roll call? Is there potential for it to turn into a Theatre Board drinks?

I may do closing night, depends if Anny other shows have their closings nearby. I cancelled Kinky Boots final night because I was still exhausted from 42nd Streets so see how we go! 😂