{"id":1478,"date":"2024-03-15T23:33:47","date_gmt":"2024-03-15T23:33:47","guid":{"rendered":"https:\/\/ventil.rs\/blog\/entertainment\/review-the-gender-swapped-company-was-good-on-broadway-but-even-better-on-tour\/"},"modified":"2024-03-15T23:33:47","modified_gmt":"2024-03-15T23:33:47","slug":"review-the-gender-swapped-company-was-good-on-broadway-but-even-better-on-tour","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/entertainment\/review-the-gender-swapped-company-was-good-on-broadway-but-even-better-on-tour\/","title":{"rendered":"Review | The gender-swapped \u2018Company\u2019 was good on Broadway but even better on tour"},"content":{"rendered":"


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It speaks to the clarity and coherence of the gender-swapped \u201cCompany\u201d<\/a> that, upon witnessing the revival now on tour at the Kennedy Center, it almost becomes difficult to imagine Stephen Sondheim and George Furth\u2019s seminal musical comedy in its original 1970 iteration.<\/p>\n<\/div>\n

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Marianne Elliott\u2019s deftly realized production has been around the block, debuting on London\u2019s West End in 2018, making its pandemic-delayed Broadway bow in 2021<\/a> and nabbing five Tonys. Thus, its central conceit \u2014 Bobby, a commitment-phobe bachelor on the verge of his 35th birthday, is now Bobbie, a commitment-phobe bachelorette \u2014 has had time to settle in, shed the baggage of comparisons to the past and take flight with a rich reputation all its own.<\/p>\n<\/div>\n<\/div>\n

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If only every canonical classic were this well suited to reinvention: By upending the creaky sexual politics of past productions, Elliott has turned \u201cCompany\u201d into a contemporary tale of a woman struggling to square the societal pressure to settle down with the have-it-all impulses of modern femininity. In doing so, Elliott heightens Sondheim\u2019s staggering score and lends renewed heft to some of the greatest show tunes ever written. (Elliott adjusted Furth\u2019s book and collaborated with Sondheim on this revival before his 2021 death<\/a>.)<\/p>\n<\/div>\n

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Take \u201cBeing Alive,\u201d Bobbie\u2019s bring-down-the-house finale about giving in to love\u2019s tempting tendrils, which Britney Coleman delivers with epiphanic urgency that hits differently as the character\u2019s biological clock ticks. Or \u201cGetting Married Today,\u201d the virtuosic patter song \u2014 traditionally performed by a runaway bride \u2014 that now twists the tongue of the groom Jamie before his same-sex wedding. As the impeccable Matt Rodin pushes Jamie\u2019s neurosis into hyperdrive, Elliott punctuates the showstopper with kinetic staging that finds a laugh lurking around every corner.<\/p>\n<\/div>\n

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That number arrives in one of \u201cCompany\u2019s\u201d loosely connected vignettes, as Bobbie glimpses married life in all its multitudes through the eyes of her hitched friends. One couple, delightfully inhabited by Kathryn Allison and James Earl Jones II, presents marriage as gateway to middle-aged malaise as both spouses give up their vices, cycle through new hobbies and prod at each other\u2019s insecurities. Javier Ignacio and Marina Kondo play a duo who seem to have it all figured out but are quietly crumbling. As an uptight husband and his considerably hipper wife, Jed Resnick and Emma Stratton shrewdly capture the futility of reliving a more carefree past.<\/p>\n<\/div>\n

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Then there\u2019s Joanne, the embittered Manhattan socialite immortalized by Elaine Stritch and portrayed in this revival\u2019s West End and Broadway runs by Patti LuPone in an Olivier- and Tony-winning turn. Judy McLane proves to be a worthy successor to those theatrical titans, belting the acerbic toast \u201cThe Ladies Who Lunch\u201d with all the steam of a locomotive about to go off the rails.<\/p>\n<\/div>\n

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Although Bobbie (or Bobby) has always been something of a cipher, passively watching from the back seat as the show\u2019s more colorful supporting characters take turns at the wheel, Coleman appeals in a performance that\u2019s more playful than Katrina Lenk\u2019s unfortunately standoffish Broadway outing. It doesn\u2019t hurt that she gets to bounce off such love interests as Jacob Dickey\u2019s flight attendant Andy, a self-deprecating himbo with a dumb grin and sluggish reactions (a storytelling upgrade from the dated clich\u00e9 of a character the male Bobby beds). As another one of Bobbie\u2019s would-be beaus, Tyler Hardwick gracefully carries the melodic perfection of \u201cAnother Hundred People\u201d and its wistful reflection on New York City\u2019s enduring transience.<\/p>\n<\/div>\n

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It all unfolds against Bunny Christie\u2019s geometric, neon-framed sets, which crowd Bobbie in ever-constraining boxes as she goes from one New York apartment to another. But the show is at its most dazzling when those modular units are rolled offstage and Coleman\u2019s red jumpsuit pops against a haze of violet light during the Act 1 finale \u201cMarry Me a Little.\u201d (Christie also crafted the costumes; Neil Austin is the lighting designer.)<\/p>\n<\/div>\n

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Choreographer Liam Steel ups the visual ante throughout the show, deploying the cast in an array of comically timed tableaus. But the Kennedy Center\u2019s sprawling Opera House did prove to be an awkward fit for \u201cCompany\u2019s\u201d inherent intimacy at Thursday\u2019s opening night performance, as dialogue echoed and vocals occasionally failed to envelop the space.<\/p>\n<\/div>\n

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When it comes to evaluating Sondheim\u2019s eclectic oeuvre, many are understandably partial to his more genre-driven endeavors \u2014 \u201cSweeney Todd,\u201d \u201cSunday in the Park With George,\u201d \u201cInto the Woods\u201d and the like. Yet Sondheim\u2019s lyricism is uniquely suited to articulating the complexity and contradictions of day-to-day life, and his musical collaborations with Furth \u2014 \u201cCompany\u201d and \u201cMerrily We Roll Along\u201d \u2014 represent the composer at his most relatable. Between this \u201cCompany\u201d staging and the expertly calibrated \u201cMerrily\u201d revival now on Broadway<\/a>, we\u2019re in a moment of renewed appreciation for Sondheim the humanist. Such is his genius: Even in death, no one captures the lived experience quite like the master of musical theater.<\/p>\n<\/div>\n

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Company<\/b><\/i>, through March 31 at the Kennedy Center. About 2 hours 45 minutes. <\/i>kennedy-center.org<\/i><\/a>.<\/i><\/p>\n<\/div>\n<\/div>\n


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Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

It speaks to the clarity and coherence of the gender-swapped \u201cCompany\u201d that, upon witnessing the revival now on tour at the Kennedy Center, it almost becomes difficult to imagine Stephen Sondheim and George Furth\u2019s seminal musical comedy in its original 1970 iteration. Marianne Elliott\u2019s deftly realized production has been around the block, debuting on London\u2019s…<\/p>\n

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