As a theater enthusiast who has had the privilege of witnessing some of the most renowned productions both in London and New York, I can’t help but be in awe of Marion Elliott’s incredible journey with the gender-swapped revival of “Company.” Ten years ago, she and her producing partner Chris Harper sought out a show with a female lead. Little did they know that their idea would lead them to challenge musical theater legend Stephen Sondheim.
In July, the critically acclaimed “Company” musical, a five-time Tony Award winner including for best musical revival, comes to Hollywood’s Pantages Theatre. Britney Coleman stars as Bobbie, a 35-year-old single woman in this thought-provoking production about being unmarried beyond societal expectations. Stephen Sondheim, who wrote the music, earned eight Tonys, eight Grammys, an Oscar, and a Pulitzer Prize throughout his remarkable career – this was only his second musical composition. Unbeknownst to him as he penned “Company” in 1970, it would be the last revival of his work he’d witness before passing away in 2021.
“Approximately three days before his passing, I visited the home of the late director in upstate New York. During our interview for the paper about the revival, he was an epitome of warmth, vitality, and generosity. One remark he made that has stayed with me since then was, ‘This musical is the most entertaining one I’ve ever seen.’ When I inquired if he meant his own work, he replied, ‘No, Marianne. The most entertaining musical I’ve ever seen.’ Such a praise is a great testament to his appreciation for art and his kindness.”
Elliott’s highly praised West End show was initially scheduled for its Broadway debut on Sondheim’s 90th birthday, March 22, 2020. However, the pandemic forced a halt to the production after just nine previews had been staged. Eventually, it opened in December 2021 to rave reviews.
The first time this person attended a rehearsal to observe a run-through was a significant and exciting moment for Coleman, who understudied Bobbie on Broadway. During the run-through’s conclusion, he expressed gratitude towards us. However, we were the ones who felt grateful and thanked him instead. He shared his appreciation for our dedication in keeping the show current and engaging for modern audiences. Clearly, he took great pride in the production.
The main thing that sets this revival apart from past revivals (besides Marianne Elliott’s consummate directing), is the gender switch from Bobby, a swinging sixties bachelor, to Bobbie, a less-swinging single whose biological time clock is getting louder. Driving the point home, the production restored a long-lost dance number called “Tick Tock”.
Coleman chuckles and shares, “This role feels incredibly self-referential for me. With regards to the gender swap, at thirty-five, there’s a biological pressure, as discussed frequently in today’s society. Those without children yet are encouraged to consider egg freezing. Marianne subtly includes infant cries in some scenes, making it an unconscious consideration. I must admit, I don’t believe many male friends have been asked about settling down compared to my female companions.”
Approximately a decade past, Elliott along with her producing partner Chris Harper were in search of a television show featuring a female lead. During this time, Harper chanced upon Bernadette Peters’ recording of “Being Alive,” Bobby’s dramatic finale song. Harper pondered, what if Bobby was transformed into Bobbie instead?
Elliott didn’t hesitate as she highlighted the challenges of not undergoing the gender transformation, mentioned in the text. Previously, Bobby was depicted as a bachelor with numerous romantic relationships, which was quite scandalous in the 1970s but is less sensational nowadays.
“Changing it to feature women instead makes it feel more current, as many women reaching their mid-30s become conscious of the passage of time and feel pressure to start a family. This transformation also applies to some of Bobbie’s friends: one is now a high-earning wife married to a stay-at-home husband, while another was once an anxious bride but now faces the role reversal as a nervous groom trying not to leave his husband-to-be at the altar.”
I remember feeling elated by the apparent progress we were making, but Sondheim remained skeptical. Determined to convince him, I proposed, “Why don’t you give me a chance with a workshop? I understand it might not succeed, but please watch and share your thoughts with young people and women present.” He reluctantly agreed, keeping his promise to observe the session. Afterward, he phoned me back, saying, “Alright, let’s give this a shot.”
In musical terms, the shift appears insignificant – Bobby transitions from being a tenor to a soprano. However, Coleman holds a different perspective. “The tones produced by male and female voices significantly differ, leading composers to pen distinct pieces for each gender. Consequently, this transition proves more complex than one might assume. The opening number commences with a high A note, which falls within a higher range for women compared to tenors, necessitating extensive vocal acrobatics.”
Elliott is widely recognized as the leading English theater director today. Previously serving as artistic director at the National Theatre, she boasts an impressive collection of accolades including four Tonys and three Oliviers. Her notable works include “War Horse,” “The Curious Incident of the Dog in the Night-Time,” and the latest staging of “Angels in America.”
She hadn’t seen or directed many musicals before, with just one exception under her belt, and had no prior experience with “Company” until after its revival was presented to her.
She shares her passion for classic theater and the power of spoken words. Sondheim, her mentor, taught her that music can be as thought-provoking and emotionally resonant as dialogue. Intrigued, she would ask questions like, “Why does she sustain that note longer in that line?” or “Why does she sing that higher note?” And Sondheim would provide insights, always understanding the characters’ motivations behind their musical choices.
Coleman, who hails from a musically inclined background, attended the University of Michigan to pursue musical theater. After starting her profession in the ensemble of “Beautiful: The Carole King Musical,” she went on to understudy for Glenn Close in “Sunset Boulevard.” Subsequently, she took part in the ensemble of “Tootsie.” Local Pantages Theater patrons may recall her performance as Barbara in last summer’s touring show of “Beetlejuice.”
During her time learning the role of Bobbie on Broadway, she had the opportunity to collaborate with Patti LuPone and receive guidance from Elliott. A memorable experience for her was crossing paths with Sondheim during one of the post-pandemic rehearsals. After the show’s preview, they all convened at the lobby bar and he spent some time socializing with them before the theater closed.
“During the show approximately two weeks prior to his passing, we could tell exactly where he was seated in the aisle,” Coleman reminisces. “It was an extraordinary moment. They illuminated the area around him and the crowd erupted in enthusiastic applause for an extended period.”
Company runs through August 18 at the Pantages in Hollywood.
Read More
Sorry. No data so far.
2024-07-23 23:55