LuPone, Patti

Subterms

    More stories

    • 113 Shares99 Views

      in Theater

      Patti LuPone Says She Resigned From Stage Actors’ Union

      by

      The actress left months ago, and revealed her exit on Monday after her name arose during discussion of the errant reprimanding of a “Hadestown” patron who was using a captioning device.The much-honored stage actress Patti LuPone said on Monday that she resigned from the labor union Actors’ Equity months ago, revealing the news after her history of reprimanding cellphone-using audience members was invoked in a new controversy about the policing of electronic devices.The drama that consumed the corner of social media obsessed with theater began to unfold last week when a “Hadestown” audience member with hearing loss said she had been reprimanded by one of that show’s current stars, Lillias White, while using a theater-approved captioning device mistaken for a cellphone.“On a daily basis, actors are confronted with digital devices illegally capturing their work,” the musical’s producers said in a statement on Monday. “In this case, following a terrible miscommunication, in the middle of a live performance, Lillias mistook the closed-captioning device for a cellphone.”The “Hadestown” incident, for which the show apologized, prompted significant criticism of White. Then, on social media, LuPone’s name was cited in the discussion because she had in the past been celebrated for seizing a cellphone from a texting theater patron.Some of the criticism directed toward White was ugly. “The discourse on social media around the incident has devolved into racist, ageist and other abhorrently discriminatory language we unequivocally condemn,” the production said.The tenor of the criticism of White, who is African American, prompted some on social media to recall that LuPone, who is white, has been lauded on occasions when she has chastised misbehaving theatergoers.Because the patron White reprimanded was using a device for legitimate purposes, it is an imperfect comparison. But LuPone turned to Twitter on Monday in an apparent effort to distance herself from the situation, writing: “Quite a week on Broadway, seeing my name being bandied about. Gave up my Equity card; no longer part of that circus. Figure it out.”LuPone left the union over the summer, long before the “Hadestown” incident, upon finishing her Tony-winning run in a revival of “Company.”“When the run of ‘Company’ ended this past July, I knew I wouldn’t be onstage for a very long time,” LuPone said in a statement emailed in response to a question about her tweet. “And at that point I made the decision to resign from Equity.”Her departure came after a change in union rules that eliminated a cap on dues collected from high-earning performers. She had expressed concern about the change and the way it was communicated, according to people familiar with the thought process behind her resignation.Her spokesman, Philip Rinaldi, when asked about the issue, said only: “It was a number of issues that led to her decision. Patti was an Equity member for 50 years.”It is not clear what the statement means about her professional future. But this is not the first time LuPone, 73, who also won Tonys for her work in “Evita” and a revival of “Gypsy,” has said she was going to step back. In 2017 she said she expected “War Paint” to be her final musical; a year later she was back onstage in “Company” in London.In some instances, it is possible for performers who are not members of Equity to perform on Broadway. It is also possible to rejoin a union.The “Hadestown” controversy has also renewed discussion about monitoring audience behavior. The playwright Jeremy O. Harris urged reconsideration of such policies, saying, “Having a more realistic relationship to technology as well as more generous read of the actions of others would stop things like this from happening.” More

    • 138 Shares189 Views

      in Theater

      Robert LuPone, Actor Who Became a Behind-the-Scenes Force, Dies at 76

      by

      After playing a critical Broadway role in “A Chorus Line,” he helped start the vibrant Off Broadway MCC Theater. TV watchers knew him from “The Sopranos” and “Law and Order.”Robert LuPone, an actor and dancer who originated the role of the driven director-choreographer in the musical “A Chorus Line” on Broadway and later helped run a vibrant Off Broadway theater company known for thought-provoking new works, died on Saturday in Albany, N.Y. He was 76.His wife, Virginia (Robinson) LuPone, confirmed the death, at a hospice near his home in Athens, N.Y. She said the cause was pancreatic cancer.Mr. LuPone was familiar to television audiences from his roles on “The Sopranos” and the “Law & Order” franchise. But his first love, like that of his sister, Patti LuPone, was the theater.By 1975, when Mr. LuPone auditioned for “A Chorus Line,” he had been dancing since childhood and had been in a few Broadway shows. Initially cast as Al, one of the dancers vying for a spot in the chorus line of a Broadway musical, Mr. LuPone persuaded Michael Bennett, who conceived and directed the show, that he could play the director, Zach, after Barry Bostwick, who had been cast in the part, left the show during the workshop phase.“Michael has trouble directing actors,” Mr. LuPone said in an interview on the website of the Muny, the musical theater in St. Louis, when it staged “A Chorus Line” in 2017. “No, let me put it this way: Michael has trouble directing egos. He has a tremendous ego. And I have a tremendous ego. Barry Bostwick obviously has a bigger ego than I do.”At the Public Theater, and then on Broadway, “A Chorus Line” was an enormous hit. When it opened at the Shubert Theater — where it would run for 15 years — Walter Kerr wrote in The New York Times that as Zach, Mr. LuPone “retires to a godlike perch at the rear of the auditorium and wheedles out of the brassy and the giggly, the pleading and the nonchalant, snippets of their pasts.”The show was nominated for 12 Tony Awards — Mr. LuPone received a nomination for best featured actor in a musical — and won nine, including best musical. That year, his sister was nominated for best featured actress in a musical, for “The Robber Bridegroom.”“A Chorus Line” proved pivotal for Mr. LuPone: His future was no longer in dancing.Ms. LuPone said that her brother had been an “extraordinary dancer,” and that his decision to give up dancing “haunts me.” In an email, she wrote, “I think he couldn’t take the dictatorial environment that choreographers at that time created.”Mr. LuPone said that dancing in musicals had become a “hollow experience.” In an oral history interview in 2018 with Primary Stages, an Off Broadway theater company, he said, “I wasn’t really able to speak, and the ideas were, for me, superficial.”That realization led him to study at the Actors Studio and perform with the Circle Repertory Company. He began teaching acting at New York University in 1981 and showed a very direct demeanor that his students at first found surprising.“Who was this guy from musical theater talking to us actors?” Bernie Telsey, one of those students, said in a phone interview. “He’d never taught before. But it became the best class ever.” Some students continued to study with him after they graduated.In 1986 Mr. LuPone and Mr. Telsey formed the Manhattan Class Company, which later became MCC Theater. Will Cantler soon joined them as associate artistic director and was named an artistic director in 2011.Over nearly 40 years, the company has sought to produce challenging, original plays and musicals, with a view to what Mr. LuPone called a “third act” — affecting audience members enough to keep them talking about the shows after they returned home.Three MCC productions transferred to Broadway and received Tony nominations for best play: “Frozen,” the story of the aftermath of a 10-year-old girl’s murder, which opened in 2004; “Reasons to Be Pretty” (2008), about people’s obsession with beauty; and “Hand to God” (2014), a dark comedy about a teenager and his profane, possibly demonic sock puppet. An Off Broadway MCC production of “Wit,” Margaret Edson’s play about a woman’s reflections on dying after she learns that she has ovarian cancer — which won the Pulitzer Prize for drama and the Drama Desk Award for outstanding play in 1999 — also moved to Broadway.Mr. LuPone in the 1998 Broadway production of Arthur Miller’s “A View From the Bridge.” He was also a familiar face on “The Sopranos” and “Law and Order.” Sara Krulwich/The New York TimesRobert Francis LuPone was born on July 29, 1946, in Brooklyn and grew up in Northport, N.Y., on Long Island. His father, Orlando Joseph LuPone, was an elementary school principal in Northport. His mother, Angela (Patti) LuPone, a homemaker, encouraged Robert and Patti’s show business ambitions, driving them to classes. Robert and Patti danced together as children, winning third prize at a Jones Beach talent contest.“I still have the trophy,” Ms. LuPone said. “It was a tango.”Robert took tap lessons after school before enrolling in the Martha Graham School, where as a teenager he studied modern dance with Graham, José Limón and Antony Tudor. He attended Adelphi University, on Long Island, but, spurred by meeting a dancer better than he was who had gone to the Juilliard School, he transferred there. He majored in ballet and minored in modern dance and graduated in 1968 with a Bachelor of Fine Arts Degree.By then he had been in the ensemble of a 1966 production of “The Pajama Game” at the Westbury Music Fair (now the NYCB Theater at Westbury) on Long Island. He made his Broadway debut as a dancer in 1968, in “Noël Coward’s Sweet Potato,” and danced in three more Broadway shows before his agent sent him to audition for “A Chorus Line.”Mr. LuPone worked steadily as an actor in theater, in movies and on television. He played the Apostle Paul in the film version of “Jesus Christ Superstar” (1973); was in six daytime soap operas (earning a Daytime Emmy Award nomination for his role on “All My Children”);was seen on series like “Gossip Girl,” “Ally McBeal” and “Billions”; and, between 1997 and 2001, was in Broadway productions of Arthur Miller’s “A View From the Bridge,” Sam Shepard’s “True West” and Herb Gardener’s “A Thousand Clowns.”In six episodes of “The Sopranos,” he played Bruce Cusamano, Tony Soprano’s neighbor and physician, who recommends that Tony see a psychiatrist.In addition to his wife and sister, Mr. LuPone is survived by his son, Orlando, and his twin brother, William.Mr. LuPone’s acting career was secondary to his work at MCC, where he not only developed, oversaw and produced four or five shows a year but also raised money for the theater’s permanent home, the Robert W. Wilson MCC Theater Space, on West 52nd Street in Manhattan, which opened in 2019.“Bob was fearless,” Mr. Telsey said, adding that playwrights often found it hard to accept the candid notes that Mr. LuPone would write them during previews. “They’d be so stressed, but three days later realized that Bobby was right. He pulled no punches.” More

    • 138 Shares99 Views

      in Theater

      ‘A Strange Loop’ Nominated for 11 Tonys as Broadway Lauds Comeback

      by

      “The Lehman Trilogy,” as well as revivals of “Company” and “For Colored Girls,” led in their respective categories as the industry tries to recover from the long pandemic shutdown.A musical about making art and a play about making money dominated the Tony Awards nominations Monday, as Broadway sought to celebrate its best work and revive its fortunes after the lengthy and damaging coronavirus shutdown.The race for best musical — traditionally the most financially beneficial prize — turned into an unexpectedly broad six-way contest because the nominators were so closely divided they had to expand the number of nominees.Out of the gate, the front-runner is “A Strange Loop,” a meta-musical in which a composer who is Black and gay battles demons and doubts while trying to write a show. Even before arriving on Broadway, the show, written by Michael R. Jackson, had won the Pulitzer Prize in drama after an Off Broadway production at Playwrights Horizons; it opened on Broadway late last month to some of the strongest reviews for any new musical this season, and on Monday it picked up 11 Tony nominations, the most for any show.“I feel really grateful, and I feel validated for putting in all the years and all the hours,” Jackson said after learning the news. “It feels amazing to know better things are possible.”“MJ,” a jukebox musical about Michael Jackson, was nominated for 10 Tonys. Myles Frost, center, was nominated for best actor in a musical.Sara Krulwich/The New York TimesScoring the most nominations is not always predictive of winning the prize, and “A Strange Loop,” which is adventurous in form and content, will face tough competition from “MJ,” a biographical jukebox musical about Michael Jackson; “Six,” a fan favorite about the wives of Henry VIII; “Girl From the North Country,” which combines the songs of Bob Dylan with a fictional story about a boardinghouse in the Minnesota city where Dylan was born; “Mr. Saturday Night,” about a washed-up comedian hungering for a comeback; and “Paradise Square,” about a turning point in race relations in 19th-century New York.Both “Paradise Square,” which picked up 10 nominations, and “Girl From the North Country,” with seven, have struggled at the box office, and will now hope that their multiple Tony nominations will help reverse their financial fortunes. For “MJ,” its 10 nods are a form of vindication after several influential reviewers criticized the show for sidestepping sexual abuse allegations against the pop star.“The Lehman Trilogy,” which arrived on Broadway with an enormous — albeit pandemic-delayed — head of steam following rapturously reviewed productions in London and Off Broadway, picked up eight nominations to dominate the best play category. The play, which follows the rise and fall of the Lehman Brothers, was written by Stefano Massini and Ben Power, and featured a dazzling production centered on a rotating glass box designed by Es Devlin. All three of its leads — Simon Russell Beale, Adam Godley and Adrian Lester — were nominated for best actor.“The Lehman Trilogy” was nominated for 8 Tonys, including best play. All three of its leads — from left, Adam Godley, Simon Russell Beale and Adrian Lester — were nominated for best actor in a play.Sara Krulwich/The New York Times“The Lehman Trilogy” vies with four other dramas for best play. Among them are two dark comedies — “Clyde’s,” by Lynn Nottage, a two-time Pulitzer winner who was also nominated for writing the book for “MJ,” and “Hangmen,” by Martin McDonagh, an acclaimed British-Irish playwright who has now been nominated five times but has yet to win. The other contenders are “Skeleton Crew,” Dominique Morisseau’s play about factory workers at an automotive plant facing shutdown, and “The Minutes,” Tracy Letts’s look at the unsettling secrets of a small-town governing body.The Tony Awards, which honor plays and musicals staged on Broadway, are an annual celebration for American theater, but they are particularly important now as a potential marketing tool for an industry that is still grossing less, and selling fewer tickets, than it was before the pandemic forced theaters to close for a year and a half. The awards are presented by the Broadway League and the American Theater Wing.“This Tony Awards will mean so much more than honoring the performances and the artistic work that’s been done this season — it’s also celebrating the resilience of the community, and that this much work is being done and being seen,” said Rob McClure, an actor who scored a Tony nomination (his second) for his comedic and chameleonic performance in the title role of “Mrs. Doubtfire.”Billy Crystal was nominated for best actor in a musical for his performance in “Mr. Saturday Night,” based on his 1992 film. Sara Krulwich/The New York TimesWell known performers scoring nominations included Uzo Aduba, Billy Crystal, Rachel Dratch, Hugh Jackman, Ruth Negga, Mary-Louise Parker, Patti LuPone, Phylicia Rashad and Sam Rockwell. But several other big stars now working on Broadway were overlooked by nominators, including Sarah Jessica Parker, Matthew Broderick, Laurence Fishburne and Daniel Craig, as well as Beanie Feldstein, starring in “Funny Girl” but unable to escape the long shadow of Barbra Streisand.This season saw an unusually large number of works by Black writers, and that created more opportunity for Black performers, directors, and designers, some of whom were nominated for Tonys. Among them are two performers new to Broadway, Jaquel Spivey, the star of “A Strange Loop,” and Myles Frost, the star of “MJ,” now facing off against Crystal, Jackman and McClure in the leading actor in a musical category.“Black playwrights have had an amazing presence this season, and I hope that continues,” said Camille A. Brown, who scored two nominations Monday, for directing and choreographing the revival of Ntozake Shange’s “For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf.” Reflecting on her own show, she said, “Having seven Black women on a Broadway stage has a lot of meaning, and speaks to the importance of sisterhood and love and Black women holding space for one another.”“For Colored Girls Who Have Considered Suicide/ When the Rainbow is Enuf” was nominated for seven Tonys, including for best revival of a play. Sara Krulwich/The New York TimesThe seven Tony nominations for “For Colored Girls” are a bittersweet triumph for a production that has been languishing at the box office and had already announced an early closing date. The revival picked up more nominations than any other show in the race for best play revival, a strong category in which many eligible shows won positive reviews.It will now face off against four others: “American Buffalo,” David Mamet’s drama about a trio of scheming junk-shop denizens and “Take Me Out,” Richard Greenberg’s look at homophobia in baseball, as well as two plays that had never previously made it to Broadway despite being considered important parts of the playwriting canon, “Trouble in Mind,” Alice Childress’s look at racism in theater; and “How I Learned to Drive,” Paula Vogel’s Pulitzer-winning drama about child sexual abuse.The competition for best musical revival is small, but strong. There were four eligible shows, and only three scored nods: “Company,” “Caroline, or Change,” and “The Music Man.” Excluded was the revival of “Funny Girl” which fared poorly with critics, but has been doing fine at the box office.“Company,” the Stephen Sondheim-George Furth musical, was nominated for 9 Tony awards, including best revival of a musical. Patti LuPone, a nominee at left, performed with Katrina Lenk. Matthew Murphy/O & M Co./DKC, via Associated PressThe nine nods for “Company” pack an especially emotional punch because its composer and lyricist, Stephen Sondheim, died soon after attending the first post-shutdown preview. “The longer he’s not with us, the more I miss him,” said LuPone, who picked up her eighth Tony nomination — she’s won twice — for her work in the production.The nominations were chosen by a group of 29 people, most of whom work in the theater industry but are not financially connected to any of the eligible productions, who saw all eligible shows and voted last Friday. There were 34 eligible shows, 29 of which scored nominations; the five left out were all new plays.Up next: a group of 650 voters, including producers and performers and many others with an interest in the nominated productions, have until June 10 to vote for their favorites, and the winners will be announced at a ceremony on June 12. The ceremony, at Radio City Music Hall, is to be hosted by Ariana DeBose; the first hour will be streamed on Paramount+, followed by three hours broadcast by CBS.Broadway’s grosses are down in part because tourism remains down in New York City, and in part because of ongoing concerns about the coronavirus. Many of the nominees interviewed Monday said they hoped the spotlight of the Tony Awards would lure more patrons back to Broadway.“Anyone that’s doing theater right now has been hit really hard by the pandemic,” said Marianne Elliott, a two-time Tony-winning director who scored another nomination for “Company.” “It’s gratifying to see that Broadway is coming back. To have the Tony nominations for all of these shows is just a celebration of what we do, and it’s lovely to be here.” More

    • 100 Shares189 Views

      in Theater

      Patti LuPone on 'Company,' Stephen Sondheim and More

      by

      Her friends say there is nothing more fun than hanging with Patti LuPone while she’s having a glass of wine.That’s not true. There is something more fun: sharing a whole emerald bottle of Perrier-Jouet and dishing with Patti LuPone.Feuds! Lovers! Temper tantrums! Dictatorial directors! Wrongs avenged! Madonna’s “dead” eyes! Andrew Lloyd Webber’s perfidy! And, of course, teary memories of Stephen Sondheim.Last month, Mr. Sondheim, 91, died suddenly at home in Roxbury, Conn., just as he was about to come to New York to be celebrated at the openings of highly anticipated makeovers of two of his milestone collaborations: “West Side Story,” a movie directed by Steven Spielberg, and “Company,” the acidic musical about a terminally ambivalent Manhattan singleton. On Wednesday night, the Broadway lights were dimmed for the composer.Two years ago, when the pandemic shut down Broadway during previews for “Company,” Ms. LuPone retreated to her basement in Connecticut, where she posted videos that went viral showing off her pinball machine, her jukebox, her Ethel Merman cassettes, her husband’s bong and her dance moves to “Hava Nagila.”Now she’s back, picking up where she left off playing Joanne, the jaded, older friend of the singleton. When Ms. LuPone played the role in London before the pandemic, critics gushed and she won an Olivier. In this production, Bobby morphs into Bobbie, a woman whose friends want her to settle down, even though they concede marriage is a mixed bag.As one of Bobbie’s pals sings in the high-velocity “Getting Married Today”: “What’s a wedding? It’s a prehistoric ritual/ Where everybody promises fidelity forever/ Which is maybe the most horrifying word I ever heard of.”Bobbie is played by the lissome Katrina Lenk, who won a Tony in 2018 for her mesmerizing performance as Dina in “The Band’s Visit.”“I think it’s more poignant to have a woman,” Ms. LuPone said, “because we get asked that question, ‘When are you going to get married? The clock is ticking. Eggs are getting old.’ Boys don’t get asked that question, especially when they’re 35, boinking beautiful women.”Who better to mark this Broadway phoenix moment with than Ms. LuPone, the Long Island native who has been called “the goddess of the modern musical” by The Guardian? She is that very particular kind of animal, perhaps the last of the breed, a genuine Golden Age Broadway star, the kind that can turn a theater into a living room, throwing out an electric current that makes 1,000 people feel as if they are being spoken to, and sung to, individually.As Joanne, Ms. LuPone raises a martini glass in her socko “Ladies Who Lunch” number, with its famed primal scream — “Aaaaaaaaaaaaaahhhhh, I’ll drink to that!”(Mr. Sondheim instructed the singer, who gets passionate about Republican political moves, to unleash her scream by thinking of how she feels when she reads a newspaper.)Patti LuPone as Joanne in the musical “Company.”Sara Krulwich/The New York TimesThe role of the salty, hard-drinking Joanne was originated in 1970 by the salty, hard-drinking Elaine Stritch, a Sondheim pal. As Alexandra Jacobs, a book critic for The New York Times, wrote in her biography of the actress, “Still Here,” Ms. Stritch always had her flask of Hennessy backstage when she was playing Joanne, the sort of wealthy Upper East Side woman who might drink vodka stingers and carry a bichon in her Birkin.Ms. Jacobs wrote in The Times that while “Company” is not as well known as other Sondheim shows, it has acquired a cult status among Gen Xers and millennials, who appreciate the fact that it is “drier than a sauvignon blanc, more New York than the Yankees.”Onstage, Ms. LuPone drinks water in her martini glass. But real bubbly is required to toast the lights returning to Broadway.Remembering SondheimAfter a preview performance the other night, we met up and looked for a Times Square bar, but it’s hard now to find one that stays open after shows, or one at all, really. (“Company” opened Dec. 9 at the Bernard B. Jacobs Theater, and Jesse Green, a Times theater critic, called Ms. LuPone’s performance “perfectly etched,” in an otherwise mixed review.)“McHale’s, Charlie’s, Sam’s, Barrymore’s,” Ms. LuPone said, reeling off the names of bars that have closed.So we ended up setting up our own bar — complete with votive candles and vintage coupes — in a room at the Civilian on 48th Street. The small hotel is decorated as a homage to Broadway, with costumes and pictures from shows, so naturally we found a photo of Ms. LuPone that happened to be on the wall of our ersatz bar, a shot of her as Mrs. Lovett in “Sweeney Todd,” co-written by Mr. Sondheim..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}I asked her if there was anyone she’d like to make into a meat pie, and she shot back, “Do you have to eat it?”In her dressing room, Ms. LuPone keeps a typewritten note sent to her before the pandemic hit by Mr. Sondheim, who was clearly growing more sentimental: “Every now and then I’m brought up short by realizing what a wonderful singer you are. That’s apart from the acting and performing and the attention to detail. In any event, I just felt I had to put it in print. Thank you for enhanceing [sic] my shows — and everyone else’s for that matter, Love, Steve.”Ms. LuPone choked up talking about it. “I just was so flummoxed by it,” she said, still referring to the composer in the present tense. “Steve doesn’t give compliments. I beg your pardon. Steve does give compliments, but they’re hard-earned. His notes can be devastating, which I’ve had several of.”She got a bad note when she was playing Fosca in “Passion” at Lincoln Center; Mr. Sondheim berated her about her enunciation, saying all he heard was “monotonous mush.”“I said in my head, ‘If it was anyone with less experience than me, they would have turned in their equity card,’” she said. “It was a dress down that — I was lost. That’s been my big downfall. I’m a flannel mouth. John Houseman called me a flannel mouth when I was in school.”A Sondheim score “is not easy to sing accurately. It’s a challenge to interpret the lyrics as he intended them with depth,” she said with understatement. “That is a big accomplishment. Steve makes me better. I keep saying, ‘Who will make me better now that Steve is gone?’”Some who worked with Mr. Sondheim thought that he was harder on Ms. Stritch and other women than on men, perhaps because of his dreadful relationship with his mother. He told Meryle Secrest, who wrote his biography, that after his father left for a younger woman, his mother was sexually inappropriate with him: “What she did for five years was treat me like dirt, but come on to me at the same time.” After that, Ms. Secrest said, Mr. Sondheim strived to maintain “a safe psychic distance” from women making overtures, “imagined or real.” (His domineering mother surely shaped his portrait of Rose in “Gypsy.”)“He’s not hard on people that don’t threaten him,” Ms. LuPone said. “I think he was hard on me because — I don’t know. I can’t answer for him but he was hard on me. I’ve got stuff in my scrapbook, the mean stuff and good stuff.” She saves everything, even the hate mail she got after she said she would refuse to perform if Donald Trump came to a show.The petite Ms. LuPone is routinely referred to as a towering legend, but in person she’s earthy, calling everyone from stagehands to fellow cast members to me “doll.”“She’s really warm hearted and bawdy and thinks of herself as a broad,” Ryan Murphy said. “She says what’s on her mind. And she knows where all the bodies are buried.”Josefina Santos for The New York TimesOne of the numbers in “Company” is “Being Alive,” and no one is more alive than Ms. LuPone, 72, who cherishes her fiery Sicilian temperament and her ability, as the writer Karen Heller put it, to “nurse a grudge like cognac.” But it’s easy to see the vulnerability threaded through the bravado.She has her own vocabulary on Broadway: Her rhapsodic fans are called “LuPonettes” and when she publicly burns someone — from an arrogant composer, to a Hollywood star who descends on Broadway for a guest turn, to a littering or photo-snapping or texting audience member — it’s called being “LuPoned.”When she does online forums with fans, she elicits comments like this one: “I wish Patti LuPone was my terrifying but beloved aunt.”Ryan Murphy cast her in roles in “Glee” (causing his young cast members to go “gaga,” he said), “American Horror Story” and his “Hollywood” limited series.“Patti has this insane, volcanic power within her body to sing like that,” Mr. Murphy said. “She is, to the American musical theater scene, what Meryl Streep became to the film world. There will never, ever, ever be another person like Patti LuPone who has that power.“Some might think of her as a diva, but she’s really warm hearted and bawdy and thinks of herself as a broad. She says what’s on her mind. And she knows where all the bodies are buried.”Her friend Joe Mantello, the acclaimed Broadway director and actor who worked with her in “Hollywood,” talked about her duality: “She understands that she’s a great star, she’s a legend. But there’s a part of her that also sees herself as part of Juilliard Group One, a working actress,” he said, referring to the first drama class at the school.After “War Paint,” the 2017 musical in which she played Helena Rubinstein, Ms. LuPone swore she would never do another musical.“I have two new hips and one new shoulder,” she told me. “Musicals are killers. They were breaking my body.”But when she was offered the chance to do “Company” with the British director Marianne Elliott, who directed the Tony Award-winning 2018 Broadway revival of “Angels in America,” Ms. LuPone could not resist.The singer is still afraid of Covid, and she had crying jags about returning to Broadway because “I just don’t want to do musicals anymore.” But she’s back belting, her mezzo-soprano voice still thrilling 41 years after she won her first Tony as Eva Perón in “Evita.” (She won a second Tony playing Rose in Mr. Sondheim’s “Gypsy” in 2008.)And, despite the hip surgeries, she’s back dancing — in heels, no less.“Did you see I tripped tonight?” she asked, adding merrily: “The next musical is in a wheelchair.”I told her that her voice — what she calls “two tiny muscles” and what Mandy Patinkin calls “the two tiny rubber bands in your throat” — sounded amazing.“I made a pact with the devil because, believe me, I’ve abused it,” she said. “In my entire life, I smoked, I took drugs, I blew out vocal cords. I had the vocal cord operation. It’s shocking to me that I still have a voice. I feel like Ethel Merman.”At the preview, the audience was primed to see their Patti again. They got excited before the show started, merely listening to a recording of her voice ominously warning everyone to turn off their phones. (Ms. LuPone famously snatched a phone from an audience member during a 2015 performance at Lincoln Center, after the woman would not stop texting.)“Musicals are treacherous animals,” Ms. LuPone said, talking about all the backstage drama and sniping. “Hits can go south faster than flops. In hits, people become entitled. In flops, you’re holding on for dear life.”Ms. LuPone and Stephen Sondheim at a rehearsal for “Sweeney Todd.” Sara Krulwich/The New York Times‘A Burden and a Blessing’She said that this final act of her career is a lot easier than clambering up to Broadway.“I went through emotional abuse because it was the thing to do to get a performance out of somebody,” she recalled. “I never had the casting couch. They said, ‘Get out!’ They never said ‘Come in.’ I never went through any kind of sexual harassment. No, it was mental and emotional harassment.”She has said that she could be her own worst enemy, letting her temper fly.It would happen in taxicabs, she said. If she thought drivers were cheating on the meter, she would do battle, jump out without paying and yell a raunchier version of “Don’t ever mess with a New Yorker!”Mr. Patinkin, who played Che to her Evita, backed up her tales of pugilistic prowess.When they were on the road doing a concert tour, she once came in with a black eye. She explained that a guy in the parking lot had stolen her space; she had “mouthed off,” and he smacked her.“But you should have seen what I did to him!” she kvelled to Mr. Patinkin.“She doesn’t pull any punches,” he said. “She gives it to you right on the chin.” It doesn’t sound like a metaphor.“I’ve gotten in trouble since I was a toddler for questioning,” Ms. LuPone said. “I got in a lot of trouble in school. When I got out of Juilliard and got into the professional world, there was some weird behavior. Mean stage managers, lousy agents that didn’t protect me. I was completely alone in ‘Evita,’ I had to fight the battles myself.”She has talked about Hal Prince, the director, bullying her, as other British members of the cast tried to prod her to do the part as it had been done in London by Elaine Paige, to which she replied: “Shut up.”“It was like a battlefield from my dressing room past the stage management to the stage,” she said. “It was Beirut. I was safe onstage and I wasn’t even safe on the stage because I couldn’t sing it, so I was in fear every minute.”Ms. LuPone may have felt as if she was in a war zone, but her co-star felt as if he was in heaven.“You’ll never find a better partner to be with onstage, she’s just absolute magic,” Mr. Patinkin said. “I’ve never felt safer with anyone. She could throw a dagger right between my eyes and I know it would stop one millisecond right before it hit my forehead.”“If you feel a little tired or worn out, if something has happened to you,” he added, “she’ll pick you up and make sure you’re alive.“Patti is so sensitive, she sings like a child, very truthfully. She can’t let certain feelings go, which is a burden and a blessing. She fights through it all and gives everything, until there’s nothing left in her.”As she sipped champagne and nibbled on prosciutto, Ms. LuPone looked like she had plenty more in her.“I have scars,” she mused. “And why are we called ‘bitches’ or ‘difficult to work with’ when we’re simply asking for what we need?” It infuriates her, she said, because it is men who are using those labels.“Apparently, I was persona non grata in California after ‘Evita,’ because everybody heard I was difficult in New York. It’s like, ‘Wait a minute, you want to know why I was difficult?’ No, it’s just, ‘You were difficult so you’re on the Life’s Too Short list.’ I’m saying this for every woman and guy that goes through that. Your talent will out. Your talent will carry you, if you stick to it and honor your talent.”In the wake of #MeToo, she noted, abusive bosses get the hook.“There’s no more bad guys left in the world,” she said with a sly smile. But her black humor is still intact, so she added that, for her show, “We had to go through two days of sensitivity training. I wanted to kill myself.”She played Norma Desmond in “Sunset Boulevard” in London, before it came to Broadway. In 1994, when Andrew Lloyd Webber fired her and replaced her with Glenn Close, she wrote in her memoir, “I took batting practice in my dressing room with a floor lamp. I swung at everything in sight — mirrors, wig stands, makeup, wardrobe, furniture, everything. Then I heaved the lamp out the second-floor window.”She sued him and used the $1 million she won to build a pool at her Connecticut house, now christened the Andrew Lloyd Webber Memorial Pool.“The only thing we didn’t do is the police drawing on the bottom of the pool,” she said, laughing.After decades of trading insults, she says simply that Mr. Lloyd Webber is “a sad sack.” Her irritation at Ms. Close still simmers. And then there’s Madonna: In 2017, she told Andy Cohen: “Madonna is a movie killer. She’s dead behind the eyes. She can’t act her way out of a paper bag.” She added, for good measure: “She should not be on film or stage.”When we left the theater, Ms. LuPone said we were exiting through “the Madonna door,” called that because when Madonna acted there in David Mamet’s “Speed-the-Plow” in 1988, she made a quick getaway by this door to try to avoid the throngs outside.“That’s when she had that body, in that period when she was staggeringly beautiful,” Ms. LuPone said. “I couldn’t look at anything else but her body. I couldn’t hear what she was saying. It was just like, ‘Wow.’ She did have presence onstage in that respect, when she came onstage with that body.”I asked Ms. LuPone if it smarts to leave every night by the Madonna door, given that Madonna got the Eva role in the movie.“I always thought that Judy Davis would have been stunning in the movie, and get somebody else to sing it — get Marni Nixon,” she said, referring to the ghost singer for Natalie Wood in “West Side Story” and Audrey Hepburn in “My Fair Lady.”“I want to see somebody that’s going to be electrifying and Madonna is not an electrifying presence on camera,” Ms. LuPone continued. “She’s just not — not for that score, which is insane.“When Mandy and I did it onstage, thank God we had training from Juilliard, so we were able to connect the dots dramatically, because there really wasn’t anything there.”Ouch.I asked about her husband, Matt Johnston, whom she met when he was a cameraman on a 1987 TV movie in which she portrayed the young Lady Bird Johnson. (Mrs. Johnson told her, “Evita was a bird of paradise, and I’m just a little mouse.”) How has the star stayed married for so long in showbiz?“Because Matt gave up show business,” she said. “He became Mr. Mom and a farmer, and he is egoless. He understands what this is that I have to do, and he supports it.” They have a son named Josh, 31, a filmmaker.I was curious about her seven-year romance with Kevin Kline, which got off to a fractious start at Juilliard.“We were at each other in the very beginning,” she said, “and then one day in art history class, we were just all over each other.”And did it really end, as she wrote in her memoir, when Mr. Kline collided with “a chorus girl in Boston while he was doing ‘On the Twentieth Century.’”“Well, it depends on who you ask,” Ms. LuPone said mischievously. “I wanted to move to an apartment that had doors because I was in a tiny little apartment on 21st Street. Kevin thought that was a commitment.”But she still treasures the telegram Mr. Kline sent her on opening night of “Evita”: “InEVITAble!”When I left her outside her New York apartment at 2 a.m., I felt very awake and caught up in the Patti of it all.“Bye, doll,” I called out.“Bye, doll,” she sang back.“Your talent will out,” Ms. LuPone said. “Your talent will carry you, if you stick to it and honor your talent.”Josefina Santos for The New York TimesConfirm or DenyMaureen Dowd: You chided Neil Patrick Harris for not knowing what he was doing in rehearsals for your limited “Company” run at Lincoln Center in 2011.Patti LuPone: True. We had 10 days. He came in and he didn’t know anything.You once played a vengeful ghost who haunted a laundromat and lived in a dryer.Confirm.Your ideal “Ladies Who Lunch” outing would include Eleonora Duse, Sarah Bernhardt, Edith Piaf, Patti Smith and Bette Davis.Yes.You started your career as a toddler with a Marilyn Monroe imitation.Yes. My mother used to make me come out when I was 3 or 4 and go like this (pursing her lips).You have a long rider attached to every contract that you think of as a scrapbook for every mistake you’ve ever made.Exactly. What’s in the dressing room. What my transportation is. Just to make sure I’m not stressed out when I get there. I learned from Ryan Murphy to ask for “portal to portal.”As Helena Rubinstein said, “There are no ugly women, only lazy ones.”I do think that’s true.It was intimidating to sing “Ladies Who Lunch” at Stephen Sondheim’s 80th birthday party 10 feet away from Elaine Stritch.No, I felt honored. I started singing the line “Does anyone still wear a hat?” and I looked straight at Elaine, who had a hat on, to pay homage. Elaine always said very wise things to me. She was a lovely mentor and a lovely friend.At Juilliard, John Houseman was just as frightening as he was in “The Paper Chase.”He was tough and scary. I got in an elevator with him once in 1969, 1970. I said, “Hi, Mr. Houseman.” He turned to me and said, “Louise Bernikow says you’re the most illiterate person she’s ever met.”You sang “Don’t Cry for Me, Argentina” better than the senior George Bush.Can I tell you something about Barbara and George? I did a performance at the East Wing when they were in the White House. And the next time Matt and I went back, we were in the line and I said, “We got pregnant the last time we were here!” At the Willard.By happenstance, you sang at Ryan Murphy’s wedding, which was so private, he didn’t invite any of his friends.I was singing in Provincetown, and I ran into Ryan. So I came to see him come out of his room and sang “Here Comes the Bride” and threw rose petals in his path.You were jealous when Madonna performed in leather and a mesh teddy at the Boom Boom Room during Pride Week.I can’t think of anything funny about Madonna. More

    • 100 Shares199 Views

      in Theater

      Review: In a Gender-Flipped Revival, ‘Company’ Loves Misery

      by

      Bobby is now Bobbie in this confusing, sour remake of the 1970 musical by Stephen Sondheim and George Furth.If there was ever a good time to dislike “Company,” now isn’t it.No, the death on Nov. 26 of the composer-lyricist Stephen Sondheim makes this more properly a time for sorrow and gratitude. He was, after all, the man who wrote those feelings into a beautiful “Company” song — “Sorry-Grateful” — and, in so doing, introduced ambivalence at an almost cellular level to the American musical theater.But let’s face it, the revival that opened on Thursday night at the Bernard B. Jacobs Theater is not the “Company” Sondheim and the book writer George Furth (along with the director Hal Prince) unleashed on Broadway in 1970. Sure, the score remains great, and there are a few perfectly etched performances in supporting roles, especially Patti LuPone’s as the undermining, pickled Joanne.As directed by Marianne Elliott, however, in a gender-flipped version abetted by Sondheim himself, what was once the story of a man who is terrified of intimacy becomes something much less interesting: the story of a woman who is justifiably tired of her friends.That woman — now Bobbie instead of Bobby, and played by the winsome Katrina Lenk — no longer hears the busy signal of missed emotional connections that pulsed through the songs in their original incarnation. This time, what accompanies her as she studies five partnerships and samples three lovers is the ticking of a biological clock.Reframed that way, and with heaps of oversize symbolic baggage piled on top, the story comes to seem overwrought and incoherent. Gone is the affirmative lesson Bobbie learns from the smothering couples attending her 35th birthday party — a milestone she’d rather ignore. Instead, as if to prove that “Company” loves misery, this production drags her off the pedestal of her aloofness and into the mud of a long, dark night of the soul. At one point she vomits into a bucket.Indecent proposal, from left: Terence Archie as Larry, Patti LuPone as Joanne and Lenk.Sara Krulwich/The New York TimesNot that coherence was ever the material’s strong point. From the start, critics complained about a main character who seemed dangerously recessive, observing other people’s foibles in loosey-goosey comic sketches that barely added up. No wonder: They started life as separate one-act plays..css-1xzcza9{list-style-type:disc;padding-inline-start:1em;}.css-3btd0c{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-3btd0c{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-3btd0c strong{font-weight:600;}.css-3btd0c em{font-style:italic;}.css-1kpebx{margin:0 auto;font-family:nyt-franklin,helvetica,arial,sans-serif;font-weight:700;font-size:1.125rem;line-height:1.3125rem;color:#121212;}#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-family:nyt-cheltenham,georgia,’times new roman’,times,serif;font-weight:700;font-size:1.375rem;line-height:1.625rem;}@media (min-width:740px){#NYT_BELOW_MAIN_CONTENT_REGION .css-1kpebx{font-size:1.6875rem;line-height:1.875rem;}}@media (min-width:740px){.css-1kpebx{font-size:1.25rem;line-height:1.4375rem;}}.css-1gtxqqv{margin-bottom:0;}.css-1g3vlj0{font-family:nyt-franklin,helvetica,arial,sans-serif;font-size:1rem;line-height:1.375rem;color:#333;margin-bottom:0.78125rem;}@media (min-width:740px){.css-1g3vlj0{font-size:1.0625rem;line-height:1.5rem;margin-bottom:0.9375rem;}}.css-1g3vlj0 strong{font-weight:600;}.css-1g3vlj0 em{font-style:italic;}.css-1g3vlj0{margin-bottom:0;margin-top:0.25rem;}.css-19zsuqr{display:block;margin-bottom:0.9375rem;}.css-12vbvwq{background-color:white;border:1px solid #e2e2e2;width:calc(100% – 40px);max-width:600px;margin:1.5rem auto 1.9rem;padding:15px;box-sizing:border-box;}@media (min-width:740px){.css-12vbvwq{padding:20px;width:100%;}}.css-12vbvwq:focus{outline:1px solid #e2e2e2;}#NYT_BELOW_MAIN_CONTENT_REGION .css-12vbvwq{border:none;padding:10px 0 0;border-top:2px solid #121212;}.css-12vbvwq[data-truncated] .css-rdoyk0{-webkit-transform:rotate(0deg);-ms-transform:rotate(0deg);transform:rotate(0deg);}.css-12vbvwq[data-truncated] .css-eb027h{max-height:300px;overflow:hidden;-webkit-transition:none;transition:none;}.css-12vbvwq[data-truncated] .css-5gimkt:after{content:’See more’;}.css-12vbvwq[data-truncated] .css-6mllg9{opacity:1;}.css-qjk116{margin:0 auto;overflow:hidden;}.css-qjk116 strong{font-weight:700;}.css-qjk116 em{font-style:italic;}.css-qjk116 a{color:#326891;-webkit-text-decoration:underline;text-decoration:underline;text-underline-offset:1px;-webkit-text-decoration-thickness:1px;text-decoration-thickness:1px;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:visited{color:#326891;-webkit-text-decoration-color:#326891;text-decoration-color:#326891;}.css-qjk116 a:hover{-webkit-text-decoration:none;text-decoration:none;}In one of those sketches, the low-level friction between a husband and wife erupts in a jiu-jitsu match; in another, the apparently perfect shine of marital bliss turns out to be the glow of impending divorce. A third couple learns the meaning of devotion while smoking pot; a fourth couple — now configured as two gay men — experiences hiccups on the way to the altar.Still, as strung together by Sondheim’s diamantine songs, “Company” offered a groundbreaking way of looking at its subject, less through a microscope than a kaleidoscope. Sarcasm warming into insight was the hallmark of the style, which borrowed the nonrepresentational techniques of midcentury drama and wed it to a psychological acuity rarely before seen in American musicals. The result was a new method of storytelling in which thematic consistency trumped conventional plot — and nearly obliterated it.Though fascinating in theory, and worth considering as a way of reorienting the original’s outdated sexual politics, Elliott’s idea that the material could be regendered for a new era completely disrupts that consistency. Aside from Sondheim’s customized new lyrics, only a few of the alterations made to accommodate the thesis scan. One involves the gay couple, Jamie (formerly Amy) and Paul. For them, getting married really is the terrifying unknown described in the showstopping, tongue-twisting “Getting Married Today.” Explaining his decision to cancel the ceremony, Jamie (Matt Doyle) says, in a line that’s been added: “Just because we can doesn’t mean we should.”That moment rings true. But when Bobbie takes advantage of Jamie’s jitters to suggest that he marry her instead of Paul, she doesn’t seem needy or wolfish, as Bobby did when propositioning Amy; she seems foolish and disrespectful. That Lenk fails to make sense of the moment is not her fault. There are no lines or logic that would allow her to do so.From left, Jennifer Simard and Christopher Sieber, with Lenk. The low-level friction between Simard and Sieber’s characters, a husband and wife, erupts in a jiu-jitsu match.Sara Krulwich/The New York TimesEven more flummoxing is the scene in which, as originally written, Joanne, tired of Bobby’s passivity, and perhaps her own, suggests they have an affair. Short of turning Joanne into a lesbian, which might have been more interesting, Elliott has little choice but to turn her into a pimp, goading Bobbie to “make it” with her husband, Larry. Perhaps if Larry were not a tertiary character, barely fleshed out in Furth’s script, this might not seem like a directorial hail-Mary pass.Yet it’s amazing what a little LuPone can do to distract from such things. Whether swinging her legs like a mischievous child or squatting on a toilet — yes, Elliott’s staging goes there — she brings her precision comedy and riveting charisma to every moment she’s onstage. Her two big numbers, “The Little Things You Do Together” and “The Ladies Who Lunch,” both left pretty much alone, are uncommonly taut and specific.Too bad that Lenk, so beguiling in “The Band’s Visit” and “Indecent,” is not as lucky, both miscast and mishandled. Bobby’s transformation into Bobbie has been accomplished at the cost of a few ribs, turning the character into a rag doll. Unable to meet the dramatic and vocal demands of the role, Lenk seems merely pummeled by it. To be fair, Elliott’s staging, full of athletic busywork and “Alice in Wonderland” contortions of scale on Bunny Christie’s almost too-fascinating set, is quite a workout. Maybe that’s why Christie, who also designed the costumes, has oddly given Lenk plain white sneakers to wear with her dressy scarlet pantsuit.But in trying to disguise the show’s revue-like structure by centering the action in Bobbie’s mind, Elliott paradoxically causes her to recede even further than usual. (At one point she brings on a battalion of Bobbies, as if to compensate.) In response, you become uncommonly grateful for secondary characters who have clear things to do and do them smartly, like Jennifer Simard as the jiu-jitsu wife and Claybourne Elder as a himbo flight attendant.Eventually, though, the show runs out of distractions.Sondheim was collaborative to a fault; it’s no contradiction that he hotly resented criticism of Furth’s work on “Company” and yet (after initial skepticism) eagerly endorsed Elliott’s renovations. “What keeps theater alive is the chance always to do it differently,” he told The Times shortly before his death. This was no mere bromide; Sondheim allowed a masterpiece like “Sweeney Todd” to be cut to ribbons for Tim Burton’s film and saw the cult flop “Merrily We Roll Along” through more surgeries than Frankenstein’s monster.In that sense, this “Company” is perfectly in line with his intentions: It’s new. And truth be told, I was never less than riveted — if usually in the way Bobby is, eyeballing messy marriages. Nor is the chance to hear the great score live with a 14-piece orchestra to be taken lightly; is there a more exciting opening number than the title song?So I guess I’m sorry-grateful. Sorry for not liking this version of “Company” better — and grateful to Sondheim for providing the chance to find out.CompanyAt the Bernard B. Jacobs Theater, Manhattan; companymusical.com. Running time: 2 hours 50 minutes. More