The reviews are in! The star power that went into the New York Philharmonic’s production of ‘Company’ guaranteed that the press would have plenty to say about it, so I spent some time yesterday rounding up the most significant reviews. They were almost universally good, with qualifications. Every review mentioned how the lack of rehearsal time had an effect on the quality of the performance, but the comments are all based on Thursday’s show, which did have some technical issues. By Friday night, most of these seemed to be ironed out. I noticed very few problems, and the few I did notice were a matter of timing between the orchestra and the singer. I would have to agree that more rehearsal time would have been helpful for everyone, including Stephen, but they did the best they could within some very serious time constraints. The fact that they could pull it off so successfully is a testament to the professionalism of everyone involved.
I was both amused and very pleased that so many of the reviews singled out Stephen for the quality of his performance. Some of the reviewers seemed pleasantly surprised, while others were total it-getters who expected great things from him and were very satisfied with what they saw onstage. Some of the reviewers were less than enthusiastic about Stephen’s singing, but if he’s being compared to Broadway veterans like Patti LuPone, then no, he’s not going to be perfect. I’m not qualified to judge dancing or acting, but singing is one thing I do know about, and I can say with complete sincerity that Stephen is very good. If he lacks anything at all, it’s the refinement and polish that comes with experience. His voice has a naturally lovely quality, and I thought ‘Sorry-Grateful’ showed off the best part of his range. The New York Times was not impressed, but I’ll have words for them later. At any rate, whatever criticisms the reviewers had for the overall performance was tempered by their understanding that this wasn’t meant to be a definitive interpretation of the show, but an entertaining evening of theater that was more about fun than anything else.
The Los Angeles Times: ‘While few of the performances showed much nuance (reportedly rehearsals were minimal for some of the stars), a surprising number of them were memorable. Christina Hendricks played the ditzy Pan-Am-era stewardess with aplomb, Colbert showed great comic timing as a teetering teetotaler (and both made it through their songs cleanly if without much vocal resplendence) and recent Tony-winner Katie Finneran (“Promises, Promises”) once again threatened to steal the whole show from her far more famous castmates with a bravura 10-minute scene: a breathless and brittle “Not Getting Married.”‘
Associated Press (via ABC News): ‘It doesn’t quite seem fair that the ridiculously funny Comedy Central host Stephen Colbert can do musical comedy, too. And really, doesn’t the guy get enough positive attention already? But yes, that was “The Colbert Report” host up there on the New York Philharmonic stage Thursday night, singing, dancing, doing karate moves and seemingly having a total blast alongside veteran stage actors like Broadway legend Patti LuPone in Stephen Sondheim’s “Company.”… As for Colbert, who started out as an improv comedy actor, you could tell what a huge Sondheim fan he is even if you hadn’t seen Sondheim’s recent appearance on his show, so happy did he seem onstage — doing old-style dancing in “Side by Side by Side,” singing of the mysteries of marriage in “Sorry, Grateful,” and trading karate moves with the excellent Martha Plimpton.’
The New York Daily News: ‘Other standouts: Stephen Colbert and Martha Plimpton as spouses who get a little too carried away during a karate demonstration. Jon Cryer, on leave from “Two and a Half Men,” thanks to Charlie Sheen’s antics, showed off his voice. It was, well, winning.’
The Guardian: ‘The real surprise was Colbert, playing the resentfully (if only sporadically) teetotal Harry. Although he’s sung on TV before … nothing suggested his ability to convey the heartbreaking emotion he showed here in one of Sondheim’s most beautiful and underrated songs, Sorry-Grateful, about the simultaneously soul-crushing and faith-restoring nature of marriage. “You always are what you always were,/ Which has nothing to do with, all to do with her,” sang Colbert, eyes and voice brimming with unaccustomed authenticity.’
The Wall Street Journal: ‘Perhaps the biggest draw was the comedian and actor Stephen Colbert, who isn’t particularly known for his lucid interpretations of the the contemporary musical. Yet he acquitted himself quite nicely when it came to the soft melodies of “Sorry-Grateful,” the hat-and-cane cakewalks in “Side by Side by Side” and the acrobatic karate moves with Ms. Plimpton in their book scenes.’ And later in the same article, an interesting side note from Martha Plimpton: ‘Had she known how to do those karate moves prior to rehearsals? “Absolutely not,” she said. “It was part of a routine Stephen Colbert did with Amy Sedaris in Second City that he taught me. I just learned it this week.”
Theatermania: ‘Price has wisely entrusted the show’s sharpest comic characterizations to such highly accomplished actors as Katie Finneran (hilarious as the neurotic yet lovable Amy), Jennifer Laura Thompson (delicious as the supposedly square Jenny), Christina Hendricks (endearing in a remarkably strong stage debut as the dumb-but-self-aware stewardess April), and the superb Martha Plimpton and Stephen Colbert (a fairly decent singer to boot), who are exceedingly well-matched as battling but devoted couple Sarah and Harry.’
Reuters: ‘Plimpton (who can seemingly do anything onstage) and Colbert (way out of the closet as a Sondheim nut) make an inspired comedy team; their depiction of marriage as a no-holds-barred contact sport is hilarious… Colbert and Cryer do a decent job on “Sorry-Grateful,” but that wistful song needs more expressive voices, which it only gets when Walton joins in.’
PopWatch: ‘Of the musical theater novices, Colbert probably acquits himself the best. Sondheim is a challenging step up from the works of Rebecca Black (“Friday”), but the comic has a decent suburban church-choir sort of voice. He also proves himself more than game in the surprisingly physical comedy bits with his karate-practicing stage wife, Martha Plimpton. At one point, the red-sweatered Comedy Central star even finds himself carrying both Plimpton and Harris in a move worthy of a Chinese Acrobat.’
New York Post: The big question at Avery Fisher Hall Thursday night wasn’t how the New York Philharmonic sounded performing Stephen Sondheim’s “Company.” It was: Can Stephen Colbert sing? … [Y]ou could feel the white-hot curiosity surrounding Colbert. Only the buzz around “Mad Men” vixen Christina Hendricks came close. Both were making their musical-theater debuts, and handled them more than honorably. Colbert held his own during “Sorry-Grateful,” and he had an amusing rapport with Plimpton, his stage wife.’
New York Magazine’s Vulture: ‘Colbert’s unadorned “Sorry Grateful” solo is in a different weight class than Katie Finneran’s furious “Getting Married Today”… or LuPone’s “Ladies Who Lunch,” yet each fully embodies, to scale, the emotional moment on order. (This is hardly Colbert’s first time stretching his cords, nor was it his first Sondheim solo, but this is definitely his nakedest, most irony-free warbling since “Cheap Reward.”)
And finally, down at the bottom of the list where they belong, The New York Times: ‘As for the concert’s major curiosity, it is enough to say that Mr. Colbert sang in a coarse voice that remained mostly on pitch.’ Really, New York Times? “Coarse”? And the best you can say about him was that he was “mostly on pitch”? You know what, New York Times? For that sneering and dismissive review, you get a double wag of the finger. I’ll let you guess which finger.
You can add my finger, too. What show did they see, exactly? I’d say the other reviews were much more on target. Well, I do believe it’s a rite of passage to get a lukewarm review in the Times. It just makes Stephen’s new title: Musical Comedy Star, all the more solid. He’s in the club now.
But really, NY Times. I’d call your write-up a coarse review and not even slightly on pitch. So there.
Difference makers:
+5
… nothing suggested his ability to convey the heartbreaking emotion he showed here in one of Sondheim’s most beautiful and underrated songs,
I think that Colbert in his duet with Costello (Much worse things to believe in) while not heartbreaking emotion, without a doubt sang with a sincerity that should have suggested to this reviewer that he has the ability to convey heartbreaking emotion.
Difference makers:
+5
Stephen Holden’s mommy didn’t give him enough love as a child.
Difference makers:
+10
It doesn’t quite seem fair that the ridiculously funny Comedy Central host Stephen Colbert can do musical comedy, too.
That made me laugh. No, it’s definitely not fair that Stephen Colbert is ridiculously funny, multi-talented, and also incredibly nice. But it is a welcome reassurance that someone as amazing as him could actually be the complete package.
Thanks for all of the review links! It’s so wonderful to see that the press (save for the NY Times, who can just suck it) were so pleased with his performance.
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And you left out astoundingly SMART, lockhart!
Anything else we’ve forgotten, Zoners?
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Um, I”m going to take this opportunity to be completely shallow and say – a delicious mixture of handsome and adorable. Handorable?
Difference makers:
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Please take the opportunity! Handsome and adorable, indeed. And oh man–does he look great in a turtleneck!
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Oh yes, how could I forget that! I should add witty, too. And I’m adding handorable, just because it’s so fun to say.
So let’s try this again: Stephen Colbert is ridiculously funny, multi-talented, absurdly witty, astoundingly smart, handorable, and also incredibly nice.
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Ann G., THANK YOU for the reviews, especially your response to the NYT critic.
Re PopWatch “decent suburban church-choir sort of voice.” Hey! I resemble that remark!
Now I’m going to read the rest of the Zoner reviews, you know, the REAL it-getters!
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Re PopWatch “decent suburban church-choir sort of voice.” Hey! I resemble that remark!
Hah! I know, that made me go “hey, wait a minute…”
My suburban church choir actually has some fine singers.
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Yay for all the reviews! Oh, except for the coarse, off-pitch NYT. I agree with lockhart43. They can just suck it. It sounds like such a wonderful show. I’m so glad Stephen got to show off his musical theater chops.
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And another thing… (I’m sorry! I’ve been ruminating on all this stuff since Friday, and no one will really get it like you folks will, so I’m subjecting you to all this so I can finally get it out of my head. It gets a little ranty, so please feel free to skip most of this.)
I’m putting the NY Times On Notice!
I’m a little over everyone’s “discovery” of Stephen’s acting chops, as in “pulling off something that’s not funny, but actually sincere and honest and heartfelt.” Stephen commits his considerable talents fully to whatever he’s performing in. Whether that calls for comedic, straight, musical, or physical talent shouldn’t be compartmentalized. They are not mutually exclusive, and any truly artistic piece should probably call on a range of at least some of those factors from any performer to varying degrees of mixing and matching, colliding and complementing.
As for those reviewers who were really ignorant of the full measure of Stephen’s talent – where the hell have you been for the last few years?! O.K., maybe while he was on “The Daily Show”, or even in the early “Colbert Report” years, I could understand it. But in the last few years the press has been chock full of every time Stephen sings with Tony Bennett or Alicia Keys. And he’s got a Grammy folks. For a musical special. He was just on with Jimmy Fallon a few weeks ago. That’s not basic cable; that’s network. Everyone took notice of that. He gave the opening lines of that frivolous “Friday” song more gorgeous tone and depth of meaning than that song ever has the right to expect.
And I’m SO glad the NY Magazine Vulture review mentioned “Cheap Reward”. When I really need to hear Stephen sing, that’s my go-to tune. Maybe this mention will peak the curiosity of someone at a label that hasn’t folded or been bought up yet, and they’ll offer him a recording contract. Phil Ramone could bring his considerable “Duets” experience to another worthy singer. (And, yes!, I did just compare Stephen to Sinatra. Deal. I’m still in fan-girl mode.)
Difference makers:
+6
Amen to all of this. A-freakin’-men. :D
And I’m so glad you mentioned “Cheap Reward” (and I’m happy the review did, too). I will never get sick of hearing him sing that song. When I need a pick-me-up, that’s the song I play every time. And when it gets towards the end of the song, to the part where you can tell he’s smiling, I get instantly happy.
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Well regardless of anything said about it Stephen and everyone else was fantastic in their performances and thanks to all of them! And Christina Hendricks, hubba hubba.
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I understand why Stephen doesn’t like to read what people have to say about him. At the end when I got to the New York Times, I was wincing in anticipation. I really didn’t want to read it, but I did.
Let’s focus on the many many positive ones shall we? Most people were positive and pleasantly surprised at Stephen’s talent.
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I included the NY Times review for the sake of completeness. I mean, it is the NY Times. It would’ve felt odd to me to leave that one out just because it was less than a great review. My problem with it wasn’t what was said — I get that not everyone is going to think Stephen is a fabulous singer — it was the snarky, dismissive tone, as though Stephen didn’t deserve a thoughtful critique of his performance because he wasn’t a known musical theater star. I didn’t appreciate that attitude at all.
Still, it wasn’t a terrible review. What he said, essentially, was that Stephen wasn’t awful. He didn’t say that Stephen sucked, he just wasn’t impressed with what he saw. Stephen’s been the target of much worse criticism in the past, so this one mediocre review isn’t worth dwelling on. And I’m pretty sure Stephen won’t be shedding any tears over it unless they’re fake tears on his show (please Baby Jesus let that happen, because I will die laughing).
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Eh, the NYTimes reviewer clearly had a grudge with the entire concept of the show – he was critical of NPH, too, and had a really asinine complaint about the show being outdated. Which, why is no one *****ing about How To Succeed in Business being outdated? Or MacBeth? Or any of the other hundreds of plays that come and go and are set in a particular time period. (Seriously, shall we complain that The Little Mermaid was set in a world that allows mermaids to exist?)
Basically, he invalidated his entire critique by complaining that the play dared be set in another time period.
That said, the reviews were relatively consistent across Thursday night, and I do wonder how much is due to limited rehearsal time and the fact that Thursday night was a dress rehearsal. Folks who went Friday and Saturday clearly had a much difference experience (as highlighted by the fact that Anika Noni Rose won accolades for her Thursday performance, and I’ve yet to encounter anyone with anything nice to say about her Friday performance).
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Good point about the reviewer’s personal grudge. Anika Noni Rose was terrific on Saturday night too; however, everyone else was at their absolute best on Saturday night as well, so it could simply be that she didn’t stand out as much in contrast to the other really good performances (including Stephen’s!). She got a really wonderful, loud round of applause on Saturday evening, but it may have also been drowned out by the performance of Patti LuPone, who literally stopped the show Saturday night. My review is now up on the “Company Review” part of this site, but I think it’s been buried by more recent postings today… but in the review I mentioned that Patti LuPone received applause that nearly went as long as the song itself. It was the most unbelievable ovation I’ve ever heard in my life, and I’ve seen a lot of theater! Stephen’s performance on Saturday night was spot-on, with a wonderful singing voice and not a missed pitch. I’m hoping that will be the performance the world gets to see in the movie. And I hope that NYT critic gets to see it too… and I hope he likes the taste of his hat.
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Anika Noni Rose was great on Friday, as well, Kelly, and I realized after I’d posted my review that I inadvertently left her out. She did a good job. And YES, Holden’s review of the play itself was idiocy, something that saw the trees but not the forest, that got caught up in the details but missed the larger, more enduring theme.
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Hmm. Didn’t realize the comments only went a certain level deep. Anyhow, Karentasha, I wasn’t actually referencing your lack of mention of her. None of the people I know who went Friday night (myself included) thought Rose did a good job, at least for “Another Hundred People.” When she was audible, her enunciation wasn’t clear and she appeared to be behind the music. (She was better on the song done with the other two love interests.)
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Oh, I didn’t think you were singling me out! I just realized that I hadn’t mentioned her, and she’s someone I generally think is a wonderful actress. You’re right about which song she was better in, but I didn’t mind her. She seemed pretty audible from where I was seated, which wasn’t that good a seat, though not the top of the house. But, yes, she was slightly behind. I like the quality of her voice, though.
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Ann, you nailed it. It’s the snarky tone and the fact that he couldn’t be bothered to review the entirety of Stephen’s performance that rankles. That dismissive, thoughtless last line. Well, I’ve never liked Holden. He used to do film reviews and whenever he’d handle a Brazilian film (my specialty) he’d reveal his spectacular ignorance of the subject.
Neil Patrick Harris deserved better, too.
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Re Somuch2kno: “I’m a little over everyone’s “discovery” of Stephen’s acting chops, as in “pulling off something that’s not funny, but actually sincere and honest and heartfelt.” Stephen commits his considerable talents fully to whatever he’s performing in. Whether that calls for comedic, straight, musical, or physical talent shouldn’t be compartmentalized. They are not mutually exclusive, and any truly artistic piece should probably call on a range of at least some of those factors from any performer to varying degrees of mixing and matching, colliding and complementing.”
Very, VERY well said! As if what Stephen does on a daily basis isn’t heartfelt and doesn’t require the same level of skill and focused concentration as that of a “dramatic” actor. I don’t mind when people discover Stephen’s talent by degrees — but to spend years in entertainment media and not recognize Stephen Colbert’s immense range and acting talent is just pitiful. And the idea that an actor who does comedy can also perform with dramatic tenderness is not exactly new. Robin Williams comes to mind, and Charlie Chaplin for that matter. And there are many, many other fine actors who became known primarily for comedy, but “crossed over” to more “serious” acting with little difficulty (Ehem, that’s because comedy is serious acting). But how many film actors in Hollywood can switch it up and do fresh comedy convincingly night after night the way Stephen can? Thanks for setting the record straight, Somuch2kno!
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+2
And this post, ladies and gentlemen, shows why I have a NFZ button on my browser toolbar.
Ann, you deserve major kudos for all your hard work pulling this together in one place for us to enjoy!
Thank you.
recaptcha made me laugh out loud: otimice flavonols
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By the way, for anyone still interested in hearing more about “Company,” I just posted my review of Saturday night’s performance with the other Zoner reviews… It would seem that the show kept getting better with each performance… I just wish it could keep going on! So, if you have a second, by all means take a look and let me know what you think — including those of you who saw the show on different days…
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I just found myself amused by the UK’s Daily Mail four-days-late review, which decided to focus purely on the, shall we say, ample charms of Ms Hendricks – and didn’t even mention Stephen at all!
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Quick question: I hadn’t heard anything about them recording this for broadcast or a DVD, or even audio, until someone made a throwaway comment on another site about not being able to wait for the recording’s release. Is this going to air or be heard somewhere?
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The show was taped and is going to be in movie theaters this June. Not sure how wide the release will be, but hopefully it’ll be in a theater near you. I’m hoping a DVD will be released soon after.
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