Company (2006 Broadway Revival Cast)
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Free Music Notes for Company (2006 Broadway Revival Cast)
Free Music Review: This 'Company' succeeds thanks to its cool irony and deliberate alienation -- plus the terrific Esparza
Hit: 5 Stars
Since the previous reviews have run the gamut from one to five stars (this seems to occur with any Broadway musical here at Amazon), I can't offer much that's original. But for me Company suffered from George Firth's book, which landed in a shadow zone between a plot and a blackout revue. The characters strike attitudes around the central theme, quite a sour one, of marriage as a soul-numbing institution. Because it broke the mold of Broadway optimism and Mary Martin sunshine, Company felt shocking when it opened -- but only in the self-enclosed world of the musical comedy. The culture as a whole was a decade ahead of Sondheim's poison Valentine to middle-class complacency.
In the literalist revival of 1995, the show felt embalmed. There was a good singing cast, but Firth's contribution had no life left in it. In addition, Boyd Gaines as Bobby was the weak link in the cast, as Dean Jones was in the 1970 original (he left early in the run for personal reasons, to be replaced by a triumphant Larry Kert, but by then the cast album had already been made. Kert got to record the role in the London cast album, but that never made it to CD stateside, other than one number, Being Alive, which Sony added as a bonus track to its original cast album).
With this as preamble, director John Doyle faced two primary challenges in 2005: to make Company speak to us today and to find a Bobby who could carry the show. Not everyone will agree that he succeeded, but Doyle must be given credit for adding psychological dimensions, ranging from real tenderness to wistful regret, that feel more nuanced than ever before. Raul Esparza infused Bobby with psychological dimensions not present in the book. He stood around expressionless or wearing a faint ironic smile, kept his emotional cool at all times, flirted with Asperger's syndrome, and saved personal emotion for very occasional songs, like Someone Is Waiting, that give us a peek into his vulnerable interior. It's an X Generation portrayal about lack of commitment, still a decade behind the culture, but that's how Broadway works.
A good deal of Esparza's performance is left out of the cast album, since we don't have the visuals; the same can be said for the effect of seeing characters playing instruments on stage -- that had a kind of Brechtian distancing that doesn't come across without seeing them. Following Esparza's lead, the supporting cast is also cooler and more distanced than in earlier albums. I think this works well. Alienation is the unspoken theme of Company, a theme that time has hackneyed. This cast does what it can to restore the intended mood, and although the relentlessly ironic tone wears thin, it lasts long enough to provide a dose of newness.
Free Music Review: A masterpiece redone
Hit: 5 Stars
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.
Free Music Review: Like a whole different show
Hit: 5 Stars
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.
Free Music Review: Doyle-izing worked!
Hit: 5 Stars
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!
Free Music Review: 2006 Revival Stands in Good Company
Hit: 5 Stars
There are revivals done for nostalgia, and there are revivals that cut right to the spirit of the original production. The 2006 revival of Company starring Raul Esparza is the latter. Its minimalist approach - the production featured practically no set and pointedly ordinary costumes - emphasised what made Company so innovative in the first place. At a time when most people went to the theatre for escape, Company confronted them with realistic characters facing real-world problems and choices. With no bells and whistles, the production is wholly reliant on its great songs and a touching, often hilarious book.
The 2006 cast sound terrific, not only as vocalists but in effectively serving as the production's orchestra. So palpable is their connection to the material and each other (mainly to Esparza) that none of the warmth and humour of these songs is lost in the transition to audio only format. Some have criticised Esparza and Barbara Walsh (as the kind of tough-as-nails Joanne that wouldn't seem out of place in Carrie Bradshaw's entourage) for their shout-heavy performances in the production's final numbers. I disagree. To me, the escalation seems well-earned, lifting this recording beyond the confines of genteel middle class drama. The result is something quite unique, a worthy companion to the original cast recording, and a must-have for any Sondheim collector.