So I've heard rumours that Marianne Elliot's Company-with-a-female- Bobby will star Rosalie Craig and Patti LuPone, and will be going into the Gielgud ...
Quote from: Leighton on Sep 21, 2017, 03:20 pmSo I've heard rumours that Marianne Elliot's Company-with-a-female- Bobby will star Rosalie Craig and Patti LuPone, and will be going into the Gielgud ...
Have you seen the bloody pricing? Minimum
£79.50 in the Stalls and Dress and even £49.50 up in the Grand where if memory serves the seating and view is pretty awful, so I rather think that this particular production will not make it onto my calendar in 2018!
We paid top price £60 something for Follies which is about my upper limit and then you know that you'll be comfortable and have good sight lines; regular West End theatres are so hit and miss comfort-wise so I will have to take a pass on Patti's Joanne.
I would also whisper ..."Patti Lupone, really?". It's probably a bums-on-seats thing but to my mind it is hardly inspired casting - that is not to criticise Miss L as I'm sure she'll be great, but it is kind of safe and obvious casting isn't it?
My memory of Sheila Gish at the Donmar will therefore remain intact!
Quote from: Gordonb on Sep 22, 2017, 04:50 amI would also whisper ..."Patti Lupone, really?". It's probably a bums-on-seats thing but to my mind it is hardly inspired casting - that is not to criticise Miss L as I'm sure she'll be great, but it is kind of safe and obvious casting isn't it?
It probably is. With a female Bobby/Bobbie maybe they felt the need to make a more "traditional" or "comfortable" casting choice so as to not scare away potential audience members.
I LOVED Sheila Gish. That pricing is insane
Ms LuPone does a good job with "ladies who lunch". See the Sondheim 80th birthday bash in NYC. Stritch sang "I'm Still Here" and wore a hat. Then LuPone sang "Ladies who Lunch". Does anyone still wear a hat? got a laugh. Its a great show overall with B Peters and Mandy Patinkin singing from Sunday in the Park and LuPone, George Hearn and Michael Cervais (Spelling?) :-* doing Sweeny Todd.
Interesting interview with Elliott posted on the Facebook FTC group, from the Guardian:
The more I hear about this, the more fascinated I am:
I'm hoping the gender-swapping proves to be as fertile a notion as they keep making it sound, Elliott in particular: after months of armchair speculation on FB wherein even supporters of the idea (including myself) usually end up -- presumably unintentionally -- making it sound more than a bit labored and stunt-ish, she herself manages to argue her case in a way that seems both intuitively obvious and inevitable.
...And hoping also, of course, that the results will be good enough to prompt a NYC transfer.
Posted on the FB group:
Includes a teaser of the all-male "You Could Drive A Person Crazy," and a few of the lyric changes in "Someone Is Waiting" (for which Rosalie Craig is in lovely voice).
And, of course, Ms. LuPone cutting glass with her stare.
Reviews are in:
The reviews for the production have been stunning and I wish we could see it (though I comfort myself by remembering that we got to see Follies at the National last fall).
Just booked myself a ticket for Friday 15th Feb 2019!
I almost started a separate thread for Documentary Now!'s Original Cast Recording: Co-Op;
Then considered instead starting one for the original Pennebaker documentary (and posting this on it);
Then finally decided to just put it here, even though the focus thus far has been on Marianne Elliott's current West End Company.
I don't know whether SJS was doing his finest deadpan on purpose, or whether he's just edited to sound that way, but it's a hoot.
And Mulaney has my heartfelt admiration for revering a rhyme I had somehow either missed (??) or forgotten about for three decades until he pointed it out in this interview: "going/Boeing". How in f**k I managed to do ...whichever of those things... is anybody's guess.
Quote from: Leighton on Oct 26, 2018, 09:58 amJust booked myself a ticket for Friday 15th Feb 2019!
Are you going to tell us what you thought? I have to confess that I've listened to the cast recording (just a couple of times so far) and I'm not loving it - particularly Rosalie Craig's vocals. Also, I suppose because I know the score so well, I'm finding the changes quite jarring. I'm sure that if I had seen the production I would feel differently!
Loved it! So much so I can't really remember anything I disliked (and Craig sounded great to me :) )
Quote from: Leighton on Feb 28, 2019, 12:28 pmLoved it! So much so I can't really remember anything I disliked (and Craig sounded great to me :) )
That's good to hear. I think I had the hump with the production as soon as I saw the ticket prices,and I wasn't smitten with the idea of another Patti 'Ladies Who Lunch" (also because I knew I wouldn't get to see it).
So I am glad that I was wrong in all counts and will need to listen again.
God, I wish Amy and I could see this, though at least we got to see the new production of Follies when it was at the National. I suppose it's too much to ask that this production could tour outside of London, yes? Though it wouldn't be the first production imported to New York from the West End. (Is the National considered part of the West End? From over here in the States, the entire London theater scene looks like one big version of Broadway.)
The National in and of itself isn't a West End house though they are close! There are rumours of it coming to Broadway (have been for months) with Anne Hathaway in the lead!
Ooh, I hadn't heard the Hathaway rumor, though I know there's been speculation about recasting Bobbie for B'way. But I have to say: on the basis of the London cast recording, I'm more taken with Craig than I expected to be, so I'd be just as happy if they brought her over.
Ben Brantley finally weighed-in last week, as enthusiastic as his colleagues were last fall:
And as long as they're (presumably) bringing Company over here anyway, could someone please stow the Playhouse Theatre Caroline, or Change in their luggage as well? My self-righteous-fanboy hunch is that Brantley's rave has as much to do with him taking fifteen years to FINALLY catch up to Caroline's greatness* as with anything particularly revelatory about the current cast or staging. But he does succeed in making the Playhouse revival sound mighty nice.
(And never mind that I've yet to see any staging of it myself, knowing the show thus far solely by its libretto and the OBCR, which I bought -- and promptly fell in love with -- a few months after the show closed on Broadway in 2004. To this day, I could kick myself for having missed it, both there and in its prior run at the Public; but for what it's worth, about half of that original production is viewable on YouTube in clips (https://www.youtube.com/playlist?list=PL5507354B26A0A5C3) of not-great, but watchable quality).
* Yeah, yeah: "admirable" and all that. I mean, better than not -- and if the original reviewers hadn't more-or-less unanimously conceded at least that speck of semi-approval (grudging or backhanded as it may have been), it would officially have been time to pronounce American theatre criticism an irredeemable wasteland. But Caroline has always been a masterpiece to rank up there with anything of Sondheim's; and, as with his work, to dismiss Kushner/Tesori's as loftily cerebral -- or even, in their case, politically overdetermined -- is to have missed the boat by a comically wide margin. Just my two pennies (see what I did there?).
I saw it at the National - with Tonya Pinkins in the original staging - and this version at the Hampstead (it's second of three homes) and adored both productions. I think I may have preferred this more recent staging. Caroline or Change might be my favourite musical
I remember briefly entertaining fantasies of booking a flight expressly to see that production, with Pinkins, in either its NT or its California run post-Broadway. It might even have been technically possible, though certainly not financially advisable, at the time... but I sorta wish I had.
On the other hand, maybe someday I'll get to design a production of Caroline and it'll turn out to have been a blessing in disguise -- as with the NT's (and subsequently LCT's) Carousel a decade before -- not to have that original staging stuck in my head. Riccardo Hernández's design registers only rather vaguely in the YouTube clips, due to fuzzy video, low lighting, and sometimes tight-ish framing; but even so, there are two exquisite images I'd be hard-pressed not to steal: the Moon, especially as revealed through parting tree branches at the bus stop; and the firmament of coins surrounding her in "Roosevelt Petrucius Coleslaw".
This recent production's design was gorgeous, and very different!
It certainly looks to have been, in photos at least: http://www.flydavisdesign.com/productions/caroline-or-change/
I've been studying these pics with some ambivalence, but they're growing on me. Any reservations aside, I still want someone to bring the production to Broadway (or Off-). After fifteen years, Caroline is due for a revival here, and this one does look very interesting.
And the various video (http://www.playbill.com/video/lots-wife) clips, including a generous 30 minutes of rehearsal footage (https://www.youtube.com/watch?v=6QJhLxgFBck), speak very well indeed for the performances.
One thing that excites me about this production is precisely that it does seem "very different" from George C. Wolfe's original staging -- and while I imagine (on admittedly limited evidence, having seen neither in the flesh) that I could probably find quibbles as well as praise for both versions, it's thrilling just to know that this work can sustain such diverse interpretations.
I was fantasizing earlier today about hopping a flight to see both Follies and Company before the latter closes on the 30th. And then it occurred to me that, had I had this brilliant idea months ago, I could have caught Caroline as well (and likely found a flight and/or accommodations cheap enough to keep the whole thing from being as financially reckless as it would be if I were to actually attempt it -- even for just the two Sondheim shows -- starting at this late date).
15 years? My goodness!
That long video is great - hadn't seen it before!
Back on topic and just for the record in case anyone didn't know, Company won Olivier awards for Best Musical Revival, Best Supporting Actor in a Musical, Best Supporting Actress in a Musical, and Best Set Design. :)
So has there been any official word about a broadway transfer? I desperately want to see this but it's nearly impossible for me to get to London right now.
Quote from: Jenniferlillian on Apr 09, 2019, 04:10 amSo has there been any official word about a broadway transfer? I desperately want to see this but it's nearly impossible for me to get to London right now.
Too late! It closed March 30th. There's not been any announcement about a transfer but I'm sure that it will happen. I suspect the powers-that-be are arguing about the casting. Patti seemed to imply that it needed to transfer with Rosalie Craig; no Craig, no LuPone perhaps?
Coming to Broadway next spring, to open on SJS's 90th birthday:
...with Katrina Lenk as Bobbie, and LuPone reprising her Joanne.
The full cast has been announced:
B'way's new Harry (Christopher Sieber) and Sarah (Jennifer Simard) on marital jujitsu, and the real kind, in this week's New Yorker:
's producers have opened a web store where you can buy show merch (https://companymusicalgoods.com) while waiting for the show to return sometime in the indefinite future.
And I somehow missed this ad last October, or at least failed to post it here. It includes publicity footage of Ms. Lenk as Bobbie (shot before the B'way production began rehearsal, but in what appears to be full costume, hair and makeup), intercut with clips from the West End production; snippets of that production winning Best Musical Revival and Best Supporting Actress (LuPone) at last year's Olivier awards; and soundbites from SJS, Ms. Elliott, and designer Bunny Christie (whose set also won an Olivier):
D.A. Pennebaker's 1970 doc Original Cast Album: Company has been streaming on the Criterion Channel (https://www.criterionchannel.com/original-cast-album-company) for the past month or so, but I'm excited for it to be released on Blu Ray (https://www.facebook.com/story.php?story_fbid=10163302047750585&id=133705265584) hopefully sooner than later.