{"id":3930,"date":"2018-10-11T16:20:01","date_gmt":"2018-10-11T16:20:01","guid":{"rendered":""},"modified":"2019-06-25T16:02:40","modified_gmt":"2019-06-25T16:02:40","slug":"company-in-london-the-gender-bent-revival-of-sondheims-classic-that-everyone-else-is-raving-about-html","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2018\/10\/11\/company-in-london-the-gender-bent-revival-of-sondheims-classic-that-everyone-else-is-raving-about-html\/","title":{"rendered":"\u201cCompany\u201d in London: The Gender-Bent Revival of Sondheim\u2019s Classic that Everyone (Else) is Raving About"},"content":{"rendered":"

\"Picture\"<\/a><\/span><\/p>\n

It\u2019s Theatre Thursday! Today\u2019s show is \u2018Company\u2019 in the <\/em>West End<\/em>, playing at the Gielgud Theatre until (at least) December 22.<\/em><\/p>\n

\u200bNot to sound too much like Stefan, but London\u2019s hottest show right now is \u2018Company\u2019. It\u2019s got everything: gorgeous sets, impeccable lighting, that IKEA chair everyone has that looks expensive, Patti LuPone, red dresses, untz-untz-untz music, a guy sitting next to you (me) burping up cheese (I almost vomited in front of Patti LuPone), and, most notably, a gender-switched lead character. In this modern revival of Stephen Sondheim\u2019s classic 1970 musical, Bobby, the 35-year-old bachelor who enjoys juggling women and being the envy of his married friends, is now Bobbie, a 35-year-old bachelorette who dates and has lots of married friends and is thinking a bit about what she wants out of life. The buzz around this revival is off the charts, and yet the show itself lacks any sense of life driving it forward.<\/p>\n<\/div>\n

\n
<\/div>\n
While \u2018Company\u2019 wants us to believe that Bobbie\u2019s having some sort of existential crisis about being single at this age, Bobbie doesn\u2019t seem to be in much need to change her life, because this is now 2018 and it\u2019s not a big deal that a 35-year-old woman, especially in NYC, is single. She seems fine. She dates cute guys, she wears cute dresses, she has a bunch of friends who care enough about her to always invite her over and call her and throw her birthday parties. Who has friends that throw birthday parties anymore?! Her life rocks. So while a female lead is interesting and buzzworthy, the show\u2019s whole main concept now fails as a piece of modern theatre, because the whole \u2018erma gerd a 35-year-old person in 2018 is unmarried alert the church elders\u2019 subject matter is so outdated and irrelevant to our lives that despite the truly gorgeous visuals of this production, and the mostly great performances, you\u2019re left thinking, \u2018wait but why though?\u2019<\/p>\n

Maybe it\u2019s because I am in Bobbie\u2019s demographic, so I have lots of Bobbie-friends in my life who are Living Their Best Life, but I think I found the female characterization of Bobbie less compelling than the male. Stereotypically, women think about marriage and getting to spinster age more than men do, right? Older single men are more socially acceptable than older single women, because yay misogyny. So if this is true, a female Bobbie isn\u2019t anything of note. It\u2019s merely a woman who still has her entire life ahead of her thinking, hmm maybe do want to get married someday. COOL. That\u2019s not exactly the most compelling dramaz. Whereas, with a male Bobby, especially when he\u2019s played with a little coldness towards his romantic conquests, it feels a little more moving to watch him realize that maybe he wants to settle down one day, because it wasn\u2019t expected, and he\u2019s not expected to really care about that. Bobby having an emotional journey is more compelling than Bobbie, well, just staying the same.<\/p>\n

And maybe I found the female Bobbie less compelling because it wasn\u2019t acted well. Unfortunately, I saw this show on the night when the lead, Rosalie Craig, was sick, and Jennifer Saayeng, who usually plays Jenny, was on as Bobbie. Saayeng should be commended for getting through the show without any mistakes, but this is a West End professional production, and her performance was sadly not up to standards. She seemed unable to control her breath, which resulted in weak voice, unable to be sustained. It was a shame that Bobbie\u2019s big musical moments \u2013 \u201cMarry Me A Little\u201d, \u201cSomeone is Waiting\u201d, and of course \u201cBeing Alive\u201d \u2013 were laborious, tedious, awkward moments that you yearned to be over instead of relishing. It was a big disappointment, and I\u2019m shocked that a production of this caliber doesn\u2019t have a better suited standby for Bobbie. Her acting portrayal left me cold as well, so perhaps Craig does show Bobbie as going on an emotional journey, but Saayeng did not. It\u2019s the fault of the director, Marianne Elliot, for not ensuring that that necessary journey always remains a part of the show no matter who is playing the role, and it\u2019s the fault of the producers for not having a standby or understudy ready to portray it. When I last saw \u2018Company\u2019 live, it was the 2006 Broadway revival with Raul Esparza, and his Bobby was one of the most incredible performances I\u2019ve ever seen in my entire life. People say that Bobby\/Bobbie doesn\u2019t require a powerhouse vocalist, but hell if hearing Raul blow the roof off the theatre with his definitive \u2018Being Alive\u2019 didn\u2019t transform the entire emotional message of that song and subsequently the play as a whole. He actually felt the pressure from his married friends and was grappling with his own desires, whereas in this production, I didn\u2019t notice anyone<\/em> making Bobbie feel uncomfortable with her status at all. And for good reason \u2013 like I said, she seemed to be doing fine. But the whole point of a musical is to show emotion through song, which Bobbie did not do.<\/p>\n

Aside from Bobbie, the rest of the characters were mostly great. \u2018Company\u2019 is told through a series of vignettes in no apparent chronological order, with returns to Bobbie\u2019s surprise 35th birthday party scattered in here and there and as bookends. The first of Bobbie\u2019s married friends were wonderful \u2013 Mel Giedroyc and Gavin Spokes as Sarah and Harry, who are trying to give up their vices and end up fully fighting each other while \u2018demonstrating\u2019 jujitsu, which Giedroyc hilariously pronounces like Ross Gellar says \u2018karate\u2019. Some of my favorite comic timing in \u2018Company\u2019 comes when Joanne enters the fray and sings to the audience \u201cThe Little Things You Do Together\u201d, and Patti did exactly what was needed here, hysterically. The scene, which ends with the lovely-sad \u201cSorry-Grateful\u201d, was as pitch-perfect as the set design was. Jenny and David, the couple who smokes weed with Bobbie and has some truly provocative dialogue, were also great. Jamie Pruden was on as Jenny with Saayeng swung up to Bobbie, and I honestly couldn\u2019t believe that she wasn\u2019t the regular Jenny. She and her husband, played by an affable Richard Henders, seemed perfectly suited to their parts. Lastly, Daisy Maywood and Ashley Campbell as Susan and Peter were great as well, with their interesting portrayal of a couple that is finally happy with each other once they get divorced.<\/p>\n

But no one and nothing in the shows beats Bobbie\u2019s gay friends Jamie and Paul. Jonathan Bailey stops the show and steals it with his incredible \u201cGetting Married Today\u201d, which is honestly the best reason to see this show. This is the one gender switch in the production that makes much more sense now. When a woman sings this song, it\u2019s funny but just normal cold feet. With a man singing it, his jab of \u201cJust because we can get married doesn\u2019t mean we should\u201d takes on a much more potent meaning, and his joke about being pregnant is actually funny. The staging is just as good as his performance, down to his leap onto the kitchen counter and the choirgirl disappearing into the fridge. It\u2019s a tour de force and I will bet right now that Bailey wins an Olivier this year for it.<\/p>\n

While Richard Fleeshman\u2019s Andy, the idiot flight attendant formerly known as Amy, is fantastic, the other two boyfriends don\u2019t fare as well. Theo (formerly Kathy) barely makes a dent, while PJ (formerly Marta) is so poorly redone as to be kind of maddening. Before, Marta was this cool liberal girl who revels in the city\u2019s diverse wonders, but PJ seems to be just like some skanky Brit who spends all his time doing drugs in clubs. What this production does to \u201cAnother Hundred People\u201d is a crime.<\/p>\n

And Patti, while always great, didn\u2019t really connect to the character. Maybe it\u2019s because she doesn\u2019t have to \u2013 the audience, screaming and cheering for her every single word, no matter what it was, would apparently scream and cheer for her if she said eat my farts instead of her lines. Joanne’s big song \u201cLadies who Lunch\u201d is set in a modern club with house music thumping, which as you know is my nightmare, and there\u2019s just no way this old lady would be at this club with all these young people dancing. The new book scenes given to Joanne before and after her big song are honestly weird. Whatever they were trying to accomplish by shocking Bobbie with Joanne\u2019s untoward suggestions about sleeping with her husband &c. was not achieved. Instead, you\u2019re left just kind of giving the stage the side-stink-eye like that gif of the little blonde toddler. If I am forced to give it some weight, I guess Joanne was trying to scandalize Bobbie into feeling something at all, and betting that her reaction would be the realization that she wants to settle down, but it felt unnatural and actually bizarre.<\/p>\n

Sondheim has said that he hates hearing theories that Bobby was a gay man, because that\u2019s an entirely different issue that the character would be dealing with. Bobby\u2019s story is that of the quintessential straight white man with no real problems, and this is the one case I can think of where the story is best suited to that kind of man. Making him a woman diminishes the potency of his story the same way Sondheim feared making him gay would. And Bobbie doesn\u2019t seem to have a problem here at all. Her friends don\u2019t seem to be pressuring her to settle down as they seem to have in past productions. And you\u2019d think that the gender-switch would bring along a new kind of pressure from the friends and from Bobbie\u2019s own acknowledgement of her aging \u2013 the time she has left to have babies. I assumed this production would be all over that with a female Bobbie. But this obvious issue is left strangely unmentioned, the one thing that actually would make a compelling argument for a female lead. So, instead of the story of a cold, insular, lonely man who realizes how badly he wants someone to love him, we see the story of a middle class, mid-30s woman who has lots of friends, a great apartment, an active romantic life, and a birthday cake all to herself. I don\u2019t see a problem.<\/p>\n

INFORMATION<\/strong>
\n\u2018Company\u2019 is playing at the Gielgud Theatre until December 22, but I am positive that either an extension or a Broadway transfer is coming, given the hugely positive reception it\u2019s getting. Rush tickets are available on TodayTix.<\/div>\n

<\/div>\n
FOLLOW-UP REVIEW HERE<\/a><\/span><\/strong><\/em><\/div>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is \u2018Company\u2019 in the West End, playing at the Gielgud Theatre until (at least) December 22. \u200bNot to sound too much […]<\/p>\n","protected":false},"author":2,"featured_media":3931,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"yoast_head":"\n\u201cCompany\u201d in London: The Gender-Bent Revival of Sondheim\u2019s Classic that Everyone (Else) is Raving About - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2018\/10\/11\/company-in-london-the-gender-bent-revival-of-sondheims-classic-that-everyone-else-is-raving-about-html\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cCompany\u201d in London: The Gender-Bent Revival of Sondheim\u2019s Classic that Everyone (Else) is Raving About - Laughfrodisiac\" \/>\n<meta property=\"og:description\" content=\"It\u2019s Theatre Thursday! 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