College Try

By Huffman, Kristin | The Sondheim Review, Summer 2009 | Go to article overview

College Try


Huffman, Kristin, The Sondheim Review


Connecticut's Trinity College presents Company

It felt very strange to witness a production of Company, a show I had recently performed in on Broadway. When the "Bobby, Bobbys" started, I instinctively reached for my flute and hummed my vocal part. But soon I was caught up in the lyrics and music and kept my flashbacks to a minimum.

This Company was part of "The January Musicals" at Trinity College in Hartford, Conn., presented by the department of music. Gerald Moshell, a professor at this liberal arts college for 30 years, directs and produces three musicals in repertory for one weekend each January, always with the emphasis on the educational aspects of the shows. A Sondheim fan, Moshell showcased three Sondheim pieces in 2004: Sweeney, Company and Passion. This year, however, Company was the only Sondheim show, presented in rep with Nunsense II and You're a Good Man Charlie Brown.

As much as I respect teachers and their extraordinary efforts, I wondered if I could be objective about a show I have seen from the inside out. The fact that Company is about people in their 30s, 40s and 50s and would be performed by twentysomethings made me anxious. But many college productions of various musicals need to be seen through the filter of "this will be a great role for her in 20 years." So I sat back, still fingering my imaginary flute, and enjoyed the production.

The energy was contagious and, due to youth, quickly paced. Much of what was missing could have been addressed with less activity and more weight. That could be a product of age, and I applaud the efforts of the students and director. Young performers have a tendency to overact, but with Sondheim's score and Furth's script, this just isn't necessary.

Reminiscent of our Broadway revival directed by John Doyle, the set was sparse, with just black boxes and simple props. There was a keyboard onstage that was occasionally played by Christopher Houlihan, the actor who portrayed Bobby.

Harry (Bryce Snarski-Pierce) and Sarah (Samantha Moorin) avoided the pitfall of overplaying the comedy. The chemistry and subtle looks seemed natural and unforced. I felt a pang of jealousy that Sarah got to eat an actual brownie, but I found myself laughing as Harry swigged his real drink. The karate scene is funny whether the performers are separated or actually throwing someone to the ground. (George Furth told me that Sarah was based on Sally Kellerman, who actually did practice karate on her husband.) These actors never held back during the physical comedy, and audience members showed their appreciation in laughter and applause.

I longed for some of the other couples to add more space and trust the words. In doing so, they would have come across more authentically, especially since their characters are based on real people. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

College Try
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

    Already a member? Log in now.