| i'm tired of Patti bashing the very acclaimed/popular/revived/recorded "male" version in order to promote this production | |
| Last Edit: Chazwaza 12:56 am EDT 03/18/22 | |
| Posted by: Chazwaza 12:40 am EDT 03/18/22 | |
| In reply to: Patti LuPone shares her 'View' on theater etiquette, 'Evita' and more - WaymanWong 04:05 pm EDT 03/17/22 | |
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| Talking about this production of Company she says, people love it because "it's gender bent. Women get asked this question, men do not. What's wrong with a 35 year old man boinking beautiful women unmarried? Nothing. What's wrong with a woman doing the exact same thing? Plenty! The clock is ticking... there's... -- and so it's much more poignant with a woman." This is not true. There's nothing wrong with it either way. But plenty of men feel pressure to be married by 35. But it was written in 1970... so let's call it 40 now, as it may as well be changed to. Just because it's slightly older now doesn't mean men don't get that. But that is the refrain from friends, it's not what the show is "about." Guess what Patti, the female Bobbie resonates with women, and the male Bobby resonates with men... "it's much more poignant." ... No. It is poignant also, for those of whom it actually makes sense to. It is not "much more" poignant. Because the show is ABOUT CONNECTING AND BEING VULNERABLE not about finding a partner before its too late to have children naturally. She says people who've never seen Company before "don't understand HOW the show could be done with a man!" Oh please. Some, I'm sure. But the way she talks about it, it's like the original show never worked and was just a hallow almost-show that they FINALLY cracked with this production. I've even heard her say that the Bobby/Joanne scene never made sense until Bobbie was made a woman, and it was Joanne offering her husband to Bobbie rather than asking when the two of them will "make it." That speaks far more to either her inability to understand a very understandable scene (including when she did it in the high profile filmed production with Neil Patrick Harris), or her willingness to buy what Marianne pitched her about the new take at the expense of ever acknowledging the worth of what it was before. (Frankly, the scene makes much less sense now and not having Joanne ask "when are we gonna make it" to Bobbie is a very disappointing cop-out, and I do not think "Ladies Who Lunch" actually works as a warning monologue delivered directly TO Bobbie) It's like Marianne Elliott and the show's publicist gave her a list of talking points. And I've heard/read her say this same stuff many times, or maybe she has points on the backend and wants to make sure this version is the only one ever licensed again? Why not just sell this production without undermining and insulting the previous version that worked to millions of people for 50 years. She also has a consistently revisionist view of Evita... claiming the show glorifies a fascist dictator who harbored Nazis... when in fact the show is not only critical of her throughout (criticizing her and her husband in every scene and mocking the countrymen who fell for her show and the global community who did too), it exists only entirely to be that. And Prince's production, more than any, is extremely critical of her and her opportunist rise as she manipulates the people and media around her and the media manipulate the people, and does not glorify her (unlike, what I'd say, the broadway revival did by presenting it like a biopic about a great woman of history). She also claims she "could not sing the role", despite being one of the only people who could sing it at the extraordinary level she could. Of course that doesn't mean it was easy to sing or even possible some of the time, but she most certainly could. She talks as if they cast her in order to destroy her. God forbid they be convinced by her auditions and consider her acting skills strong enough to let her perform it. |
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| Next: | re: Bingo.... - bway1430 05:16 am EDT 03/19/22 |
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