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Company

“Company”体育投注网平台 is, I think, the first irrefutably postmodern musical, one that’s geared not toward marriage as a resolution so much as toward a shaky self-realization that we are all alone, no matter how much we think we should dress it up by playing wife or husband or loving godfather. First produced on Broadway in 1970, the show contains some of the composer and lyricist Stephen Sondheim’s legendary early songs—“Being Alive,” “The Ladies Who Lunch”—which shimmer with a knowingness about what humans don’t know about themselves. Originally, the musical centered on Bobby, a thirty-five-year-old bachelor wrestling with what he observes in his friends’ marriages, but, in the director Marianne Elliott’s interpretation, which starts previews on March 2, at the Jacobs, Bobby is Bobbie (Katrina Lenk), a single woman living in downtown Manhattan. Though the gender switch will no doubt cast the text in a different light, the loneliness and the humor at the heart of Sondheim’s triumph will surely remain, just shown through a new lens at this ever-changing time.