The gamecock. (Columbia, S.C.) 1908-2006, February 02, 1972, Page Page 4, Image 4
By BOB CRAFT
Features Editor
"Company" was here in
Carolina Coliseum Monday night
and to out it mildly, I didn't like it.
To begin with, it took forever to
get the thing started. And to
continue, Carolina Coliseum is not
the ideal place to have such an
event. It is a sad state of affairs
when one realizes there was no
other dhoice.
The sound amplification was
terrible. I was sitting in Row A and
had to strain throughout the play to
hear. I can just imagine the
problem people h,&d in Row Z.
Not that it really mattered that
much. The songs in the play were
truly forgettable, written in sort of
a Burt Bachrach "Promises
Promises" style, but the songs
weren't nearly as good as those in
"Promises."
I saw someone at intermission
who asked me how the play was
going because she had fallen
asleep during the first act.
The basic premise of the play is
that there is a bachelor named
Robert, who has five married
couples for friends. These friends
keep trying to sell him on the idea
of marriage while being the worst
examples of that exalted state.
Cute, huh? It could have been a
very sophisticated play, but when
one remembers Noel Coward and
Oscar Wilde, one could (and
almost did) throw up. In a lot of
places the play attempted
sophistication of this sort, par
D
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ompany
ticularly in the character of
JoAnne. Unfortunately, the
sophistication was often on the
level of the hotfoot.
The play had a lot of characters
that talked about sophistication,
but didn't display it. Ain't that the
way, though?
There is a scene in the play
where Robert is trying to make out
with an empty-headed airline
stewardess. He goes through all
the motions. He unbuttons her
blouse, okay. He takes off one of
her shoes, okay. She then flashes
out her other foot for him to take
off her other shoe, okay. Then, in a
helter-skelter type action they both
take off their clothes and there's
Allen Case standing onstage in a
pair of jockey shorts and the girl
hops into bed and pops off her bra.
That was a little much, I think.
It would have probably been
better, if after she stuck out her
fcot, there could have been a black
out. (Not that I'm telling you how
to do your job, Harold Prince.)
Then on top of all that, there is
this coital conversation between
Robert and the airline stewardess
over which there is music.
Out from somewhere comes a
dancer, wearing little. else but a
flesh colored bra-slip type affair,
who proceeds to do a dance that
would be more appropriate to a
pre-Castro Havana cabaret than
the Broadway stage. What she
can't caress, she fondles and what
she can't fondle doesn't exist.
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There were a lot of "oh, God"s
and "son of a bitch"s and similar
oaths worked into the play.
There were unfunny marijuana
scenes, unfunny wedding morning
scenes, unfunny divorce scenes,
the whole schmeer. It was like a
two and half hour "Love,
American Style" segment, con
trived and unfunny.
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Allen Case had a really hard
part, though. Except for a very few
moments he was onstage con
stantly. Maybe that's why he
looked like an amused bystander.
Julie Wilson was supposed to be
the sophisticated older woman and
it came out like Julie Wilson doing
an Elaine Stritch imitation.
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(Elaine Stritch did the part on
Broadway and one could see how it
was tailor made for her.)
It must have been a slow year on
Broadway for them to give so
many Tony awards to this play. Or
maybe, with an intimate theater
and the right cast it would have
been much better. Who knows?
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