Customer Reviews

Company (2006 Broadway Revival Cast)

5 star:		(33)
4 star:		(14)
3 star:		(7)
2 star:		(4)
1 star:		(4)

 

 

I must begin this review by confessing that this is the third cast recording of Company that I've purchased over the years. I love the original cast recording mainly due to the incomparable Elaine Stritch and very strong performances from the rest of the supporting cast. Much as I loved it however, I was always disappointed in Dean Jones's performance as Bobby. I longed to hear a better voice sing that part. So, I got the 1995 revival cast version, mainly for the superior vocal ability of that cast's Bobby. The supporting cast was serviceable, but Debra Monk's Joanne was a little too polished for me.

This recording is a whole new experience. I've seen this revival and it ranks as one of the better theater experiences I've had. Raul Esparza doesn't have the most classically beautiful voice I've ever heard, but for phrasing, acting, and intensity, he wins. His Being Alive is transcendent and I don't think I've ever heard better. The arrangements are sparse, and although I admit I missed the full orchestra at times (Another Hundred People being one of them), they made the experience more intimate and removed some of the elements that had made the score sound occasionally very dated. In particular, the new arrangement for Someone is Waiting is excellent. Although I usually get annoyed by dialogue on cast recordings, the inclusion of the last bit of dialogue that leads into Being Alive makes the finale that much more cathartic.

I highly recommend this recording. It doesn't replace the original, but it's like a whole new show.

In just the last few years, there have been a bunch of interesting re-workings of Sondheim shows: "The Frogs," "Assassins," "Pacific Overtures," "Sweeney Todd," "Sunday in the Park with George," and now this new recording of "Company."

Starring Raul Esparza and directed by John Doyle, the Tony-winning director of 2005's acclaimed "Sweeney Todd," this version of "Company' uses the same conceit as his "Sweeney"-- the performers double as the orchestra. Some will undoubtedly complain, like they did for "Pacific Overtures" and "Sweeney Todd," that a smaller orchestra does not do the score justice (why that complaint seems to have escaped last year's shockingly bland "Sunday in the Park with George" recording, I have no idea). But mainly, the intimacy of the small orchestra works here.

Overall, this "Company" is about as good as previous Broadway "Company" recordings (yes, including the underrated 1996 recording-- listen again to Veanne Cox's "Getting Married Today," LaChanze's "Another Hundred People," and Debra Monk's "The Ladies Who Lunch" for proof.)

Comparing some of the recent Sondheim recordings, this one contains a lot of the same extra transitional/dialogue material that I enjoyed on the new "Pacific Overtures" and "Assassins" recordings (I still think the new recordings of those two shows outshine their originals). This "Company" also contains a lot of the stream-of-consciousness, dreamlike quality of Doyle's version of "Sweeney Todd."

But if the new recordings of "Sweeney," "Pacific," and "Assassins" come across as modern and fresh, as if they could be brand new shows, this "Company" can't escape feeling sort of stuck in the 70's. I don't mean that as a slight, but it feels very much a period piece. The presence of Esparza as the lonely bachelor Bobby is a definite plus-- his renditions of "Someone is Waiting," "Marry Me a Little," and especially the finale, "Being Alive," have some definite contemporary bite like I've not heard before. The singers playing Bobby's meddling married friends are good, if not quite as memorable as some of the performers on other "Company" recordings. I do like how there's more an emphasis on the melancholy aspects of the show -- though it almost makes you think they should probably retire the "A Musical Comedy" subtitle!

I have yet to see this particular production, but I have had this cast recording for exactly a week, and it has not left my CD player, or my mind, since then. This recording spoke to me in a way the previous recordings of Company never have.

The new orchestrations are, largely, lovely, creative, and clever. A jazzy piano is the backbone of the piece; extremely fitting for the mood. The actor/musicians are given the chance to show off in both categories, and sound marvelous (however, I have seen several clips of some failed attempts at the saxophone bits in You Could Drive a Person Crazy online. Hopefully those are very rare). Particular instances when the orchestrations shine are during Side by Side by Side/What Would We Do Without You? (the mind boggles at how these people can act, sing, move, and play at the same time!), the end of Being Alive, and Barcelona.

The performances are across the board wonderful. Unlike the rather harsh reviewer several posts below, I will not unfairly compare performances to the original cast. This is NOT the original cast, and does not TRY to be the original cast. This production and the original are so startlingly different they might as well be different shows.

Raul Esparza is wonderful. This man brings a life to Bobby that has never been brought to the character before, and his lovely voice and acting ability serve to make you connect to Bobby. The climactic Being Alive is a perfect example.

The supporting cast is likewise wonderful. Barbara Walsh's spin on the cold Joanne is excellent, and her Ladies Who Lunch (and the scene that follows) is wonderful, and makes you realize how miserable the character really is. Heather Laws as the frantic Amy is a delight, and I have never heard Getting Married Today sung so speedily and yet still so clear.

This is a superb recording that, in my eyes, stands apart from the original recording and in many ways is more enjoyable. If you are a "original cast purist", like many theatre fans are, then stay away. If you have a more open mind regarding re-conceptualizations such as this, then purchase this recording. I doubt you will regret it.

I'm probably fortunate not to have the vivid memory of the classic 1970 cast recording swimming through my head as I can listen to this sparkling update with comparatively fresh ears. Several songs here have been inescapable at karaoke bars for years from the lips of overly zealous musical theater aficionados, yet staged like a minimalist cabaret act, John Doyle's joyous 2006 Broadway revival of the Stephen Sondheim/George Furth musical has brought new life to the oft-resuscitated show. I saw the show this past weekend at the Barrymore Theater and was unexpectedly enthralled, and luckily, this crisp recording gratefully captures most of it for posterity. For a canon as legendary and often erratic as his, Sondheim's sophisticated music and lyrics never seemed as accessible and hummable as they do here.

The story is blessedly simple as it revolves around Bobby, a perennial 35-year old bachelor with commitment issues, as he observes his circle of upscale Manhattanite friends, primarily five married couples at different stages in various vignettes that make him reconsider what he wants out of life. There is an element of contrivance to the structure, but what I thought would be Furth's severely dated libretto continues to resonate with wit and insight. Moreover, the most daring move of the stage production, having the actors play their own musical instruments, is not even relevant on the recording since the accompaniment sounds seamless. So much of the show rides on the crucial casting of Bobby, and Raúl Esparza superbly manages the precarious balance between yearning romantic and cynical hedonist. With a beautifully expressive singing voice coupled with a common-guy demeanor, he captures the character's arc with an escalating emotional intensity from the measured romanticism of "Someone Is Waiting" to the tender tentativeness of "Marry Me a Little" (with the beautiful, Sondheim-trademarked rolling piano) to the bursting climactic catharsis of "Being Alive".

The rest of the cast accomplish some wonderful moments that already come with high expectations - Heather Laws dexterously motors her way through "Getting Married Today" with her character's nerve-wracking intensity intact; Elizabeth Stanley brings a likeable warmth to the dim-bulb flight attendant April as she duets sweetly with Esparza on the comically post-coital "Barcelona"; the poignant "Sorry - Grateful" performed by the comparatively less spotlighted male ensemble; and of course, there are the lacerating observations in "The Ladies Who Lunch", handled with fierce worldliness by Barbara Walsh as Joanne (her repeated primal screams at the end pierce with wounding acuity). My one minor complaint about the recording is the fluctuating volume control especially evident during the showstoppers. However, I can heartily recommend this CD to hear Sondheim's brilliance in full bloom, much of Furth's sharp book and a star-making vocal turn by Esparza.

Superb and refreshing remake with lots of added dialogue between songs.As a new remake, I found nuances to the score and the words.The recording is well done and speaks beautifully.The score is pared down allowing the ear to hear the voices better and differently.If you have all of the other cds of COMPANY, the temptation might be to compare. I do not.This cd is a worthy contrast to all of the others.Tempi is much different in some songs.There is nothing etched in stone. This is John Doyle's vision of the show and reactions may vary. I personally love it for what it is just as much as the London Recording, the 1995 Revival and the 1970 Original.They are all different and this one has it's own wonderful and distinct merits.
There is a large accompanying booklet with complete libretto,stage pix,studio pix and writer's notes.

First off, let me say that part of the reason for the five stars is because I saw the revival recently and I can honestly say that most of what is done on the cd is EXACTLY like the show. Actors have not dropped their characters just to do a recording.
As for the cd itself...For one thing, John Doyle's concept proves itself on this cd. The score does not sound watered down, but becomes more intimate than ever, which really works for this show. Secondly, "Getting Married Today" never sounded better (or faster) than it does here. As for the accusation that Barbara Walsh cannot get Stritch out of her head, trust me you couldn't be more wrong. Walsh's "Lady's Who Lunch" becomes more biting and bitter than anything before it.
Now on to Raul's Bobby. He does things with this character that boggle the mind as far as his acting goes. As for his singing, I will admit that through a lot of the cd I did not find him to be singing at his best, but when he sings "Being Alive," just try not to melt. It is seriously one of the most beautiful things I've ever heard. And as far as the high note on "Someone is Waiting," just know that it is not Mr. Esparza showing off, it is a choice made by a music director, and it WORKS!
While anyone who loves showtunes or Sondheim should own the original, this is a much welcomed addition, and beats out both of the 1990's recordings by far!

I am going to assume for a moment that anybody reading this and the other reviews is already a fan of Sondheim and Company. I am also going to assume that most people reading this are familiar with multiple recordings of this show and, hopefully, multiple performances. This is the best and truest means of judging a show, its score, and its recordings. Of course this isn't always possible, but in regards to this show, I have to say this new recording of Company is probably the weakest of the bunch ESPECIALLY after first seeing the show live. I also saw the "Doyle" Sweeney last year and think the new orchestrations were brilliant and translate well to recording. Imagine my surprise when I recently saw the new Company and found it to not only equal but SURPASS the impact of the Sweeney staging. I had purposely delayed the purchase of the new cast recording until I had first seen the show live and unfortunately the CD doesn't contain the excitement, originality, and freshness that was portrayed by the actor/musicians on stage. I think Company is nearly the ideal show for this minimalistic approach but on the recording, it just seems... empty? The listener is also drawn to shortcomings in the musical performances (instrumentally) that I didn't notice (or forgave) when I was in the theatre because the experience in and of itself was so moving and direct. I also don't want to get caught up in an argument of whether this is the best sung version or not, because it all depends on your personal preference/prejudice. The singers in this show may be the best *trained* from a technical standpoint, but the passion portrayed by the singers of the OBC will never be paralleled. All in all this is a decent recording but certainly not definitive and not the one I would recommend to someone who has never heard the show before.

There are some stunning moments on this recording, especially Raul Esparza singing, "Marry Me a Little" and "Being Alive". The ensemble work is very satisfying. Beyond the vocal talent, the instrumental accompaniment that is provided by the actors is sometimes incredible (but at other times, mediocre).

The least satisfying portion of this show is the deadening dialogue that permeates some of the songs; especially the otherwise wonderful number "Another Hundred People". At least this is a faithful recreation of the problem plaguing the Broadway show.

The orchestrations by Mary-Mitchell Campbell are masterfully done, they have been crafted to fit the playing capabilities of the actors (and part of the fun of the live stage performance); listen to "What Would We Do Without You?" towards the end and realize that there are only a handful of actor/musicians playing instruments while the rest are singing. It is brilliant! I would highly recommend this recording.

Although any Sondheim performed is pretty great, this scaled down version is missing something, but gains in other ways. Yeah, okay, the actors playing the musical instruments are fun (though the gimmick was far more effective in the recent Sweeney Todd), what's gone is the large, over the top brassiness of the original, which represented NYC itself, almost as an additional character. What's gained here is an intimacy with the characters, and imparticularly, the main character of Bobby, that hadn't been touched upon in more traditional productions. Raul Esparza is brilliant as Bobby!!
The rest of the cast are superb. A wonderfully sophisticated musical! It's now available on DVD, after being aired on PBS. I watched the televised version and enjoyed it more than the live performance (probably due to the fact that I was in the last row of the mezzanine and missed a lot of the intimate qualities of the production). I think the televised production adds a whole new dimension to the show, seeing Esparza's performance up close is a joy to see. If you want a traditional, song and dance musical comedy, this ain't it, but if you want mature, thought provoking musical theater, get this CD, or better yet, the DVD.

saw the show in New York and it blew me a way, as the best show I have seen in 20 years, and I work in theater. and the recording will not disapoint if you were unlucy enough not to see the show, as much of the dialogue is also in the recording the show will make sence to you which often recorded shows fail to do. the one thing it will leave you is the puzzelment many people have had, as to why Raul Esparza was passsed over for the Tony?