Customer Reviews

Company - A Musical Comedy (1995 Broadway Revival Cast)

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

 

 

"Company" is my favorite Sondheim show, and out of the four recordings of it that I have, this is my least favorite. The CD does not leave me satisfied and haunted as the original Broadway CD does. The singers evoke no passion, and the orchestra is too synthesizer-dependent. The only track of note on this CD is Veanna Cox's "Getting Married Today" - her diction is unbelievable, but she, as the other singers so, seems to leave behind the feeling that is supposed to go into the song. This is at best an interesting buy for those who are already familiar with the score, but for first-time listeners: go with the original.

I'd like to get proponents of the three versions of "Company" I'm aware of - the OBC, 1996 London, and this 1996 Broadway Revival Cast - and put them in a room together to "discuss" which one is the best. And better, put a large table in the center of the room, piled high with fruits and doughnuts and the sort, and see how long it takes for the food to start flying.

I actually have all three of those recordings. An ex gave me a cassette of the 1996 Revival Cast, then she bought me the 1996 London cast CD, and after the OBC was remastered on CD, I went and bought that for myself (after we broke up). Each recording has its high points, and in a geeky song-to-song comparison, each recording has songs which are done better than on the other two. But this 1996 Revival Cast has the least. It doesn't help that the actor who plays Bobby is kind of bland, and his "Being Alive" was a disappointment - a song that when I listen through line by line, listening to what it says, usually gets me all verklempt. "Getting Married Today" is the most technically proficient performance of that song, and still amazing at that, but the singer sacrifices the desperation and frantic emotion needed to really deliver that song.

On the plus side, I don't think there should ever be a comparison to Elaine Stritch's "Ladies Who Lunch", I think our panel can agree to put down the tomatoes and kruellers and give that song to the Original Broadway Cast. Given that, the 1996 Revival version is quite well executed and hits all the emotions and nuances required of that most nuanced of songs. This version is the only one that makes me laugh *every* time she hits that last 'I'll drink to that' - you know the one. It's a little over the top, but it's so gold. I liked the version of "You Could Drive a Person Crazy" best on this recording because it has the cleanest execution and the women really hit the Andrews Sisters-esque close harmony, the precision of which makes the song work just a tiny bit better than the other versions. It's a competent recording, and an update on the OBC (there are more parallels between the two Broadway recordings than with the London), and it's obviously a better sound recording.

My favorite of the three? I know I'm gonna get pelted with jelly doughnuts, but I like the London best *throws up arms defensively*. It's the little things in that recording, like the 4 bars of swing, breaking the rhythm in one of the chase sections of "What Would We Do Without You?", that I'm always listening for now, and isn't on either of the Broadway recordings. There are a whole bunch of just little things I listen for that I like when I put on the CD - a syncopation, an inflection, a different bit of orchestration - oh, the orchestration on the Revival cast is excellent, a lot of little subtle additions. Finally, I liked Adrian Lester's Bobby on the London recording the best because he just sounds very natural, whereas the other Bobby's sound more like formal singers. It's the little things.

This 1995 revival recording has had some musical rearranging from the original 1970 cast album. Generally, it captures all of the sondheim magic as it was intended, although the electronically enhanced "orchestra" occassionally leaves something to be desired - sounding oh so thin at times. As lead singers go, Boyd Gaines is no Larry Kert, but who is? I heard more than a couple of notes under pitch and his range is better suited to less demading material. His character's big number, "Being Alive," was prefunctory and unmoving. Best stuff: Veanne Cox's incomparable "Getting Married Today," and anything the ensemble does. Worst moment: the screeching of Debra Monk on "The Ladies Who Lunch." One of the great show-stoppers of all time, the tune is murdered! True, she can act her socks off, but that is a musical folks. It is hard to top Elaine Stritch's original or Carol Burnett's recent interpretation.

It took 25 years for a Broadway revival of COMPANY to happen. When it did it was a production by the Roundabout Theatre Company announced for a limited run and though there were rumors the show would transfer to another Broadway theatre, this was not to be. There are changes to the text and orchestration here. The orchestra is reduced to fourteen players, less than half the size of the original. Recording techniques have changed since 1970 and the singers now all use isolation booths. The result on the record is not the sound of all voices blending into an ensemble but of 11 individual voices. This is most apparent in You Could Drive a Person Crazy. Debra Monk sounds too young and lacks world-weary quality needed for Joanne and screams too much in The Ladies Who Lunch, but La Chanze makes a wonderful Marta, belting out Another Hundred People in a style all her own.

Sondheim mad a few lyric changes. "Much the simplest of crimes" becomes "much the cleanest of crimes." And the line "I could understand a person if a person was a fag" was changed to "if he happened to be gay."

Boyd Gaines had been sidelined during the run of the revival with throat problems. He shows no sign of strain in any f his tracks, and this version restored Marry Me a Little for him to sing at the end of Act One. If the others don't quite match the original cast, they at least offer an interesting alternate.

If you want to see a new side to sondheim then I truly suggest this CD. It is different from his touching and more profound musicals. Bobby is the only person who is single amongst a group of friends, and each of these friends are giving him advice and trying to get him married. The score includes great musical numbers from a variety of well-knowns including Jane Krakowski, Robert Westenberg, and LaChanze. Highlights on this CD as opposed to the one from the 70's version are the addition of Bobby's number Marry Me A Little. Also Getting Married Today is a hilarious number done with in a deadpan style reminiscent of Madeleine Kahn. I promise that you will not be dissappointed. The only thing that could make this CD better would be the presence of Elaine Stritch, just because she is amazing.

The 1995 revival of Company may not be as well known as the original, and often gets compared to the original for not being as great a piece, but they must really be treated as two different shows. For example, the long time comparison between Debra Monk's Joanne, and Elaine Stritche's Joanne. Debra Monk makes a phenomonal Joanne and gives "The Ladies Who Lunch" a tone it has never had before. It goes beyond drunken rage into sadness, anger, jealousy, bitterness, and a great ending. Also, Cox's rendition of "Getting Married Today" has to be the best version to date. The tempo has not been slowed at all, but every word is so clearly heard and the listener really feels Amy's frantic last minute jitters. I have found myself laughing out loud. Some versions in the revival have even changed my feelings about characters. For example, I disliked Harry enough that I never listened fully to "Sorry-Greatful" and it has now become one of my favorite songs in the revival. It is just the way the actors bring out the characters. It is saying quite a lot that that can be felt in the recording without seeing the revival live. Finally, the addition of "Marry Me A Little" is almost reason enough to buy this album. A must for Sondheim fans. However, don't miss out on the original. Elaine Stritch outdoes herself!

Nearly 35 years after its original Broadway premiere, Stephen Sondheim's "Company" remains one of the most unique and daring works of musical theatre ever. The true definition of a concept musical, the show enschews a traditional, linear plot in favor of vignettes that offer insight into the lives and psyches of married Manhatannites. The show is centered around Bobby, who is the only one of his friends who isn't married and trying to figure out why.

Of course, such a daring concept wouldn't matter if the show wasn't any good, but Sondheim has written a stellar score for this one. Although it initially isn't as melodic and memorable as some of Sondheim's more famous works ("Sweeney Todd," "Into the Woods"), repeat listenings reveal a depth and subtlety that is unfortunately uncommon in most theatre scores. Unassuming songs like "Sorry-Grateful" and "Someone is Waiting" may not instantly grab the listener, but if you surrender yourself to them you will find deeply moving and insightful songs about love and longing.

That's not the say that the show doesn't have its fair share of showstoppers. The title track grabbed me from the moment to first notes were sung, with its endless rounds and lines of counterpoint proving what a master of songcraft Sondheim truly is. And of course, the show ends with "Being Alive," one of Sondheim's most haunting and beautiful melodies ever.

Endless debate has been waged over the merits of this cast and the original, and the simple answer is that the original cast is slightly better. This is only natural, since Sondheim has been quoted as saying he writes for specific actors and believes that if you truly write a great part for a particular person, then anyone can succeed at it. Which this revival proves in spades, with the entire cast doing an excellent job with the difficult music.

However, for some odd reason all the best songs in this show seem to go to women. Veanne Cox does a fabulous job on "Getting Married Today," with such crisp diction and such a frenzied edge to her voice you have to wonder if she ever breathes. LaChanze belts out "Another Hundred People" with confidence, and Debra Monk expertly handles the showstopping "Ladies Who Lunch." She won't replace Elaine Stritch (no one will), but on her own merits Ms. Monk is more than capable of handling the role.

Sondheim buffs need this CD because it includes "Marry Me a Little," and song added after the show's 1970 New York premiere, as well as the full lyrics. It also sports a crack cast performing one of Sondheim's better scores. Newbees might do better to check out the original cast album first, but this revival is certainly worth a listen.

Though the Original B Cast of Company is legendary, this is recording will be a wonderful addition to anyone's Sondheim collection. In my humble opinion the original is somewhat disturbed by the constant reprises of the Bobby-Bubi theme and some unpleasant (but nevertheless interresting) spoken parts. In addition this recording features the wonderful Marry Me A Little. Get the OBC immediately, but don't hesitate to buy this one as well!

It's a pity that this rotten version of this genius score had to ever happen. The production was a theme-park version of Company, meaningless and artificial. And poor Debra Monk was stuck with nothing to do but try not to be Elaine Stritch. Stick to the original.

I bought this CD the summer before I entered the sixth grade. The month before, I had seen a production of it at a community theatre in Broken Arrow, Oklahoma (where I am forced to live). I am now in the 8th Grade and still love this show, and this recording. LaChanze is excellent as she soars her was through "ANOTHER HUNDRED PEOPLE". The Broadway diva Debra Monk (star of Sondheim's ASSASSINS and Ebb/Kander's STEEL PIER) leaves a mark on the role of Joanne with her renditions of "THE LADIES WHO LUNCH" and "THE LITTLE THINGS YOU DO TOGETHER". Boyd Gaines is in good voice with "SOMEONE IS WAITING", "BEING ALIVE", and espcially the new addition "MARRY ME A LITTLE". Veanne Cox is a major plus on "GETTING MARRIED TODAY", as is Jane Krakowski on "BARCELONA". The girlfriend's trio of "YOU COULD DRIVE A PERSON CRAZY" is perfection and the cast's rendition of the title song is breath-taking. SONDHEIM ROCKS!