So, How Was "COMPANY??????????????"

                                              It will be two weeks tomorrow that David and I saw the Sondheim revival, and there is much to say.  But, oh my God, let me tell you, girls, returning to Broadway as The Raving Queen was like Carol Channing walking down those stairs, returning to the Harmonia Gardens, in "Hello, Dolly!"  I seated myself, turned, and greeted all my fans!!!!!!!!!!!!!!!!!!!!   It was a triumph, girls, I am telling you--a triumph!!!!!!!!!!!!!!!!

                                               As to "COMPANY," David and I had differing reactions to the show.  We both loved the glorious Sondheim score, and the cast that was superb enough to sing it.  David did not like the show's sour take on marriage.  I come from a place where I recall when this show was being created, and opened, in 1970, when this was not only a groundbreaking attempt to shatter the Ward-And-June-Cleaver notion of marriage, but it also centered exclusively on Manhattan's upper crust.  Had the show been set in suburbia, it would have been entirely different.

                                                  Then, there is/was the problem of George Furth, who wrote the book for "COMPANY."  He also wrote the book for what I consider the show's correlating piece, "Merrily We Roll Along."  Both have title tunes reprised throughout the show, and the dramatic structure is secondary to the score.  'Merrily' is heartbreaking; this particular "COMPANY" left me wondering.

                                                    For reasons I cannot fathom, David connected the music here more to "Sweeney Todd."  Don't ask me; I am just sharing.  But "COMPANY" started as a series of dramatic playlets by Furth--which always, even as 'Merrily' shows, seems to have been his strong suit, though not especially successful.  These two musicals people go out of their way to see is because of the scores.  They are what hold both shows together, not George Furth.  Even his "Twigs," which won the great Sada Thompson a TONY Award, was more playlets than a full-bodied work.  So, when one sees the name George Furth attached to something, be sure to understand the work is going to be problematic.

                                                       Marianne Elliott, who directed the show, does some interesting staging bits with the letters of the show's title, the number 35, and an "Alice In Wonderland" type sequence.  The idea of reversing genders of some of the characters does not work; it is more of an interesting experiment, but I would not want to see all future productions of "COMPANY" go in this direction.

                                                          But back to the cast.  There are four showstoppers here.  The first is Bobby Conte, as a character called "P.J.," (before, it was Pamela Myers as Marta) who does a belting, driving version of my favorite song in the show, and the greatest song ever written about NYC--"Another Hundred People."  I cannot tell you how effective and refreshing it was to see this number being sung by a man, showing it can be done.  My regret is that I was not the one to get there first.

                                                              There is also Matt Doyle as "Jamie," (before, it was Beth Howland as Amy) doing the fast, patter part in "Getting Married Today" so perfectly the audience was overwhelmed.  I had been worried about this number, but Mr. Doyle cast all those aside, with his spot on delivery.

                                                                 Katrina Lenk, lovely in red, is "Bobbie," (before, it was Dean Jones as Bobby) and her impassioned rendition of "Being Alive" brought a warmth and emotionality to it that was extremely moving.  The only problem was the ending, not of the song, but the show.  I felt it left Bobbie glad that she was single; David thought it left her at least willing to consider marriage.  Only thing is, I am not sure which one is right, because of the gender reversal.  In the original, there was always the question hanging over Bobby as to if he is gay.  No such thing here, but whereas with Bobby the question of promiscuity does not come up, it does with Bobbie.  Especially since one of her gents, early on, phones, telling her he is cleared of an STD, therefore she is, too.  Is this necessary?

                                                                   I can hear many asking, "What about Patti LuPone?"  The minute she took her bar seat, and bellowed out, "I'd like to propose a toast!," the audience went wild.  Now that Elaine Stritch has left us, it looks like Patti will be "The Ladies Who Lunch's" signature interpreter, and Elaine could not have left it in better hands.

                                                                   Audiences will leave with questions.  But there is no question about the score. And, within months of Sondheim's passing, seeing one of his masterworks is a great way to honor him.

                                                                      Those never having seen this show before, make the most of this chance!!!!!!!!!!!!!!!!!!!!!!!!!

                                                                        And watch out for those "postered walls with the crude remarks!"