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| re: Random COMPANY question | |
| Last Edit: KingSpeed 08:57 pm EDT 07/05/20 | |
| Posted by: KingSpeed 08:56 pm EDT 07/05/20 | |
| In reply to: Random COMPANY question - andyboy 04:01 pm EDT 07/05/20 | |
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| I hate the idea of the added scene and Bobby being gay. If he's gay, what is the point of the whole show? It's all about inability to commit and more than half of the songs would be pointless to the story. Especially "Being Alive" which isn't about a man in the closet. This is my opinion. | |
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| re: Random COMPANY question | |
| Last Edit: Chromolume 09:18 pm EDT 07/05/20 | |
| Posted by: Chromolume 09:17 pm EDT 07/05/20 | |
| In reply to: re: Random COMPANY question - KingSpeed 08:56 pm EDT 07/05/20 | |
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| But - JUST the added scene does not make Bobby gay. True, he does admit to Peter that he's had a "homosexual experience," but I've always taken that to be the kind of experimenting that many otherwise straight men might do. It's also interesting how his responses to Peter after that become more and more tentative. (Does he know where Peter is going with this? Probably...) I absolutely think that if the writers had really wanted Bobby to be gay, or even committing to being bisexual, they would have made that a bigger part of the story. What is interesting, I suppose, with the inclusion of this scene is that Bobby gets hit on TWICE by people in his circle (Joanne AND Peter) and he rejects both. |
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| re: Random COMPANY question | |
| Posted by: Quicheo 09:23 am EDT 07/07/20 | |
| In reply to: re: Random COMPANY question - Chromolume 09:17 pm EDT 07/05/20 | |
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| Company is in some ways divided into two sections: Act 1 - "Bobby looks at his life" Act 2 - "Bobby looks at his options" The Peter / Bobby scene fits in with exploring those options and while it can be played for laughs, it sounds to me like a period-appropriate awkward pick-up attempt from a newly divorced man exploring hisnsexuality. It needn't be creepy as sexual attention needn't always be creepy, but it can make the divorce make more sense and present another available path for Bobby to reject. What kind of relationship does Bobby want? Casual with almost strangers? (His solid back up is moving on and no longer available.) Casual with a buddy? A kept boy on the side? These are the options if he wants a relationship without much committment. Which brings us to Being Alive. I think the Peter / Bobby scene can work as a part f his reconning with the avenues open to someone who is aging but unwilling to committ much. I certainly agree it is a challenge to get right in the actual playing. |
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| re: Random COMPANY question | |
| Posted by: JereNYC (JereNYC@aol.com) 12:54 pm EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - Chromolume 09:17 pm EDT 07/05/20 | |
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| I think it would be interesting for a contemporary writer(s) to write a new show in the style of COMPANY that would be set, as COMPANY was, in the present when it was written, about a gay man (or a lesbian) at the center of a circle of gay and lesbian friends who, a few years after the advent of marriage equality, finds himself (or herself) the last remaining single friend in the group. The writers could write about all kinds of marriage and relationship issues, both universal and unique to LGBTQ relationships. That should wouldn't be COMPANY, but I would find it preferable to the endless tinkering with COMPANY, trying to make it be more than the original creatives intended. Yes, it would be awesome to have a show like COMPANY that addresses the existence of LGBT people. So someone go write that show. That show is not COMPANY. |
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| re: Random COMPANY question | |
| Posted by: KingSpeed 05:04 pm EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - JereNYC 12:54 pm EDT 07/06/20 | |
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| That sounds similar to Significant Others. | |
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| re: Random COMPANY question | |
| Posted by: JereNYC (JereNYC@aol.com) 05:20 pm EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - KingSpeed 05:04 pm EDT 07/06/20 | |
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| I hadn't considered that, but you're right. I guess what I envisioned was the LGBTQ central character (the Bobby, if you will) in vignettes with other characters in scenes illustrating different aspects of contemporary relationships that would mirror COMPANY, but also be about what marriage and relationships are in the 21st Century for LGBTQ people. Our central character would seem to be conflicted about marriage, especially given that with the advent of marriage equality it seems like every gay couple around him/her has gotten married. I would expect that most of the characters would also be LGBTQ since most queer people have a circle of friends who are also queer around them. But I'm just spit-balling here, based on people's need to continually rewrite COMPANY, a show that doesn't really need any rewriting. |
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| re: Random COMPANY question | |
| Posted by: Michael_Portantiere 04:55 pm EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - JereNYC 12:54 pm EDT 07/06/20 | |
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| "Yes, it would be awesome to have a show like COMPANY that addresses the existence of LGBT people. So someone go write that show. That show is not COMPANY." Agreed, 100 percent. |
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| re: Random COMPANY question | |
| Posted by: AlanScott 09:10 pm EDT 07/05/20 | |
| In reply to: re: Random COMPANY question - KingSpeed 08:56 pm EDT 07/05/20 | |
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| But the scene, which I don't like, is there (at least partly) to help clarify that he's not gay. Maybe a little bit bi, but primarily straight. | |
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| re: Random COMPANY question | |
| Last Edit: andyboy 09:23 am EDT 07/06/20 | |
| Posted by: andyboy 09:21 am EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - AlanScott 09:10 pm EDT 07/05/20 | |
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| That's what I get from it too, AlanScott. But it does so by casting Peter as suddenly weird and creepy and he and the situation seem to be meant to be laughed at, which is...unfortunate. Another case of the book to a Sondheim show being monkeyed with over time (and in my opinion made a little weaker) when the original version was perfectly fine (don't even get me started on the watering down of the book to FOLLIES over the years...). | |
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| re: Random COMPANY question | |
| Posted by: AlanScott 03:23 pm EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - andyboy 09:21 am EDT 07/06/20 | |
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| I agree that the scene is problematically written, although I have seen it played in ways that worked better than I have seen in other productions. In general, I agree about the changes to the book of Company having mostly been for the worse, and that this is true for most of the instances where changes were later made to the books of shows with Sondheim scores. |
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| re: Random COMPANY question | |
| Posted by: Michael_Portantiere 10:57 am EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - andyboy 09:21 am EDT 07/06/20 | |
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| "Another case of the book to a Sondheim show being monkeyed with over time (and in my opinion made a little weaker) when the original version was perfectly fine (don't even get me started on the watering down of the book to FOLLIES over the years...). I agree with you in almost every case I can think of except FOLLIES. I'm not talking about the big changes for the London production, which I abhor. But in my opinion, the elimination in some revivals of some of the more purple, more explicit, nastier and more melodramatic lines from the original -- Phyllis's line about her panties, Sally's line about her suicide attempt(s), etc. -- improves the show considerably, because as written, it's just a little too much severe negativity, angst, and bitterness too much of the time. |
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| re: Random COMPANY question | |
| Posted by: andyboy 05:44 pm EDT 07/06/20 | |
| In reply to: re: Random COMPANY question - Michael_Portantiere 10:57 am EDT 07/06/20 | |
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| Gosh, I like all that stuff, haha. For me, the original dialogue had more in common with the heightened language one might find in an Albee play than the standard librettos of the day, and it subtly signaled that what you were watching wasn't quite realistic while also preparing you (if anything could) for the surrealistic climax. In place of "likable" characters, you were given theatrical audacity and mystery. And I feel with each revision, as mystery has been sacrificed for clarity, the piece has revealed that perhaps these characters aren't quite worth the time we had originally afforded them. Truth be told, I'm not sure the creators were ever that interested in doing a show about these people and their personal problems as much as they were enjoying assembling an exercise in extremely captivating style. And I think the opacity, archness, and artifice of the original sold that idea better than what followed. | |
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