Friday, March 29, 2024

The Kennedy Center: Company

 "Company" at the Kennedy Center for the Performing Arts is the first Broadway Touring Company of the 2021 Broadway revival.  The Broadway version won Tony's for Best Revival, Best Featured Actor, Best Featured Actress and Best Director.  The twist on this version is the switch of most of the gender roles, a multi-racial cast, and a gay couple.  The male lead, Bobby, becomes the female lead Bobbie, but the point is the same--a single person surrounded by coupled friends--who arrive to celebrate their 35th birthday and all existential mid-life crisis hell erupts.  Like most Sondheim musicals, this is a work that depends on the stories of its ensemble members, all of which are reflected through the psyche of Bobbie.

The events ramble through a short undetermined time frame with songs, that like the focus always turn back to Bobbie.  Described as a comedy, there are plenty of funny moments, sprinkled with irony and pathos.  Having never seen the show staged, I was only familiar with the music.  Watching the story-line folding into the music was very interesting.  The cast is without a headliner name, but generally brought to the table a compelling energy.  

Among the highlights, Bobbie's three suitors Andy, Theo and PJ performing "You Could Drive a Person Crazy".  Great chemistry, high energy, delightful choreography.  Marina Kondo's performance of the Priest!--it was laugh out loud hilarious with perfect timing.  But the feast de la resistance was Jamie's (Matt Rodin) delivery of "Getting Married Today!"  Between his beautifully flamboyant delivery, the pop-up appearances of Kondo as the Priest, and the rest of the cast through doors, cabinets, counter-tops and even the refrigerator!  All done with perfect timing--a tour de force of theatrical magic.

On the other end, you have Joana (Judy McLane) who plays the cynical "adult" in the show, and caps off her performance with "Here's to the Lady's Who Lunch."  Everybody knows this song, a lush condemnation of the obsessive egocentric life of the idle rich.  It's a song to just swim in with gusto--the problem here, I couldn't tell whether the tide was coming in or going out.  It was cliche.  

And then there's Bobbie... Bobbie has an interesting role, both the center of attention and yet a chameleon-like every-person.  It might seem an easy role to play, but it's the most difficult role of all.  Lazy plays it like a mirror, just reflecting everyone else around them.  Then you come to the end of the first act and Bobbie is left on the stage alone with "Marry Me a Little."  There's no one left to reflect but herself or nothing.  Similar to "Ladies Who Lunch," I couldn't figure why I wanted to listen.  Unfortunately, it was pretty much the same flat performance of "Being Alive!"  It's not that she doesn't have an amazing voice, it takes more to pull-off Sondheim.

The stage was engulfed in an impenetrable darkness save for rooms outlined in illuminated frames that floated in and out with actors.  Sometimes, up to three rooms across with adjoining doors.  The over all effect was reminiscent of a graphic novel.  Very effective.


Ensemble surrounding Bobbie (Britney Coleman)

""You Could Drive a Person Crazy" Bobbie, Andy (Jacob Dickey), Theo (David Socolar), and PJ (Tyler Hardwick)

"Another Hundred People" Theo and Bobbie

Jamie (Matt Rodin) and Paul (Jhardon Dishon Milton - shown in the insert).  The actor standing behind Jamie playing Paul was replaced by Milton on January 23, 2024.

"Barcelona" with Bobbie and Andy

"Side-by-Side" [L-R]: Peter (Javier Ignacio), Susan (Marina Kondo), Jenny (Emma Stratton), David (Jed Resnick), Harry (James Earl Jones II), Bobbie, Joana (Judy McLane), Jamie (standing), unknown actor (sitting), Sarah (Kathryn Allison), and Larry (Derrick Davis)

"Here's to the Lady's Who Lunch" Harry, Joana and Bobbie

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