The New York Philharmonic’s concert version of Company, Sondheim’s 1970 musical set at a perpetual bachelor’s 35th birthday, played in New York City over the weekend that just happened to contain my 35th birthday. Unlike Bobby, I don’t have several pairs of wealthy friends, so no one sent me to see it as a gift.
Instead, through the magic of HD digital technology, I saw a filmed version of it at the Beverly last night. Aside from issues related to the presentation being via film (ridiculously frequent angle shifts, occasionally muffled sound), I enjoyed the concert quite a bit and was reminded why its score occupies a spot in my Sondheim “top three”—beneath Sweeney Todd but alongside A Little Night Music.
Highlights include:
Getting so much of the book scenes in the concert…and left in the film I’ve seen the show three times, but I listen to the cast album much more frequently. It’s amazing how much you forget about the connecting scenes between (and interspersed within) the songs. Stephen Colbert was especially strong in his drink-mixing scene before “The Little Things You Do Together.”
Seeing Martha Plimpton and Kate Finnernan perform Both of these actresses have been getting lots of raves of late, and I’ve never seen either. Plimpton’s work against Colbert (against is an apt preposition—“Uncle, my ass!”) was strong, and Finneran’s pre-wedding scene (including “Not Getting Married to Day”) was as funny as I’ve seen. At times, she resembled Catherine O’Hara in her maniac-with-heart portrayal of Amy. I consider that a compliment.
Inclusion of the Tick-Tock dance sequence I won’t lie, sitting next to my seven-year-old as I realized that song underscoring the sex scene between Bobby and April was not cut (it usually is) was a little unsettling. But once I was assured of its PG-13-ness, it was cool to hear the see and hear the NYPhil with dancers perform this song.
Christina Hendricks’ April Ditzy and dumb do not begin to describe the odd vapidity of this character. Hendricks’ reaction to Bobby’s apartment, her delivery of the “butterfly story,” and response to the “champagne and baby oil” story mined every bit of comedy out a character that I imagine is very difficult to play.
Disappointments:
Stephen Colbert’s rendering of “Sorry-Grateful” I completely understand why Colbert was involved in this project. His affection and respect for Sondheim are well-documented and his popular appeal certainly widened the audience for the concert (particularly the cinematic release, which one must suspect was in the works when the TV-personality-heavy cast was assembled). The strength of his book scenes made his awkward and self-aware transition into song quite embarrassing.
Anika Noni Rose’s rendering of “Another Hundred People” Unlike “Sorry-Grateful” (a song that I love), I tend not to like “Another Hundred People,” but I’ve learned to like it. Her performance was certainly more professional and self-assured than Colbert’s, but was still among the weakest of the show.
I found a lot of other elements solid, but not particularly remarkable. I mostly liked Neil Patrick Harris as Bobby, preferring “Marry Me a Little” over “Being Alive” and thought Patti LuPone was good, but a little confused. I don’t usually think of Joanne as so “rough around the edges,” but I guess that comes with the territory.
I also forgot how awkward the opening scenes of the two acts are, in combination with the concluding scene (all versions of the birthday party). I get that this is a “concept musical,” a non-linear collection of scenes, but the birthday party three ways just doesn’t work for me.
Even given those weaknesses (and the two month belatedness), it’s a pretty good gift.
