Time Out says
Rosalie Craig and Patti LuPone star in Marianne Elliott’s tour de force reworking of Sondheim’s sardonic musical
Marianne Elliott’s production of Stephen Sondheim’s 1970 musical comedy ‘Company’ was announced at what felt like some point in the late Cretaceous Period. And we knew from the get-go that the lead role of terminally single 35-year-old New Yorker Bobby (a man) would be gender switched to Bobbie (a woman), played by Rosalie Craig.
The potential for this to be a novelty hung over it… but now that it’s here I’m going to cheerily declare that Elliott has found hidden depths in what was already a stone-cold classic. In 2018, when the borderline geriatric likes of Tom Cruise and Daniel Craig still regularly play sexy bachelors, the notion of a 35-year-old man being under any great pressure to settle down seems kind of quaint. But there is, of course, intense pressure for women to do so, before society deems them wanting for letting their youth and fertility run out. The nagging concerns heaped upon Bobbie for her singledom make total, crystal clear, perfectly realised sense. (NB Bobbie is straight, with the hopeless trio of lovers now men – a move that takes a certain misogynist sting out of the writing).
‘One is lonely and two is boring’ runs Sondheim’s most pithy summation of Bobbie’s dilemma, and it’s intentionally never resolved. Craig is immaculate as a hazy woman trapped in an existential funk. Her coupled-up friends have committed to things, and it hasn’t made them happy. So Bobbie remains an outsider in her own life, committed to nothing, a permanent glass of bourbon her only definite personality trait.
Elliott’s production brilliantly underscores the existential nature of Sondheim’s lyrics and George Furth’s book. On Bunny Christie’s striking set, Bobbie’s adventures unfold in a series of glowing frames drifting through the inky dark. There’s a definite Beckettian vibe as she relives her surprise birthday party in an increasingly nightmarish series of repetitions.
It’s important at this stage to point out that ‘Company’ is entertaining as hell. For starters,
its cynical depiction of amoral New Yorkers screwing up their own lives is incredibly funny: ‘Seinfeld’ years before there was ‘Seinfeld’, and with much better songs.
And Elliott has put together a cast to die for. Liam Steel has brilliantly choreographed the ensemble scenes, notably the hellish party of ‘Side by Side by Side’. But ‘Company’ mostly unfolds as a series of small vignettes, each based around a different couple. Former ‘Bake Off’ doyenne Mel Giedroyc gives a masterclass in the comic possibilities of passive-aggression as Sarah, married to Gavin Spokes’s schlubby Harry.
Formerly straight couple Paul and Amy become gay couple Paul and Jamie. Perhaps it’s a nod to the popular theory the entire musical is an allegory for gay relationships; more probably it’s just a sensible update now that gay marriage is a thing. Whatever the case, it’s an opportunity for a terrifically funny turn of hyperventilating self-loathing from Jonathan Bailey, as Jamie.
And of course, there’s Patti LuPone. Look: relatively speaking, the Lloyd Webber-loathing Broadway legend does not do a huge amount. In the role of Bobbie’s extremely Patti LuPone-ish older friend Joanne, she basically sasses sporadically for two-ish hours before being deployed like a 50-megaton bomb just before the end. But her half-wistful, half-raging, devastating-but-not-hammy take on ‘The Ladies Who Lunch’ is exactly as good as you hope it will be. It is a show-stopper – but not a show-stealer. Craig’s wallflower Bobbie doesn’t dominate the stage, but she owns it, ambivalent in her red dress.
Following the NT’s grandiose ‘Follies’ last year, this ‘Company’ is another easy case for the greatness of Sondheim, the man they literally call God. But a serious word for Marianne Elliott: she may not have killed Bobby-with-a-’y’ for good, but this production deserves to go down as a game-changer.
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Entertaining revamp of the 1970 Sondheim classic - although I wasn't sure about changing the protagonist 'Robert' to a woman - all the wonderful allusion of the original gets lost. Still, with a script and music of this quality it's hard to go wrong. A great night at the theatre and some remarkable staging too.
I am a huge HUGE Sondheim's fan and can probably quote you most of his plays/musicals and songs ad verbatim. Was so looking forward to Company since I found out it's coming o the Westend and boy... did it deliver!
If you'e familiar with the story, you'd know that it is an allegory to gay relationships and this version by Marrianne Elliot includes a gay couple. The original is about Bobby celebrating his 40th birthday wheres this is about our Bobbie celebrating her 35th. It's a bit odd considering this day and age that a woman should REALLY be settled down and married by 35.
This doesn't get n any way of the brilliant play.
Sondheim is an astute human behaviour observer and reveals the different facets, lays and intensity of it in his plays - in songs, dialogues and stories. Bobbie is neither happy nor unhappy being Single at any age, to the major disdains o her friends. Her friends are well meaning and they meddling varies from pave aggressive to dreadfully aggressive.
Her friends commit to being in a relationship - but the definition of *being* n a *relationship* is questionable and they themselves are constantly challenging and negotiating their place in the *unions*. We see that her friends are in different stages of relationships and we ask how could they themselves fail to see that they are not happy themselves and yet want to force the concept on her. Is t because being in a couple is safer, more secure or as Victoria Beckham said stronger? Or is it because if they are miserable in there coupled lives, Bobbie should experience this misery as well.
One is money and two is boring.
There is no resolution to Bobbie's situation and Sondheim intended it to be that way. Just as there is constant struggle in the other relationships. Sondheim hissed didn't fall in love until he's 60 and just maybe we will get anther play and musical of falling in love at 60 - I'm looking forward to it!
This production s sleek, clever, wonderful with brilliant cast, The singing and acting are superfluous. They may not be any familiar evocative singable tunes ala Lloyd Webber which in itself is an achievement. A very intelligent and *adult* play and to be savoured by the discerning!
Brings the comedy back to musical comedies! Company proves to be a fantastic evening out, with plenty of laugh-out-loud moments and some achingly candid - but hilarious - representations of what it means to be a young adult in a big city. The cast is great; the soundtrack full of energy and humour (keep an eye out for the Easter egg of birthday hats on the orchestra once the birtday scene comes up!). The décor itself is an impressive sort of Tetris-style arrangement of blocks that are often one (or part of a) room and move about the stage as they rearrange themselves to make way for further scenes. Add to that a touching story and very. very likeable characters, and don't forget the show-stopping scene where the gay couple is about to get married!
All in all, hardly a revolution in the world of musicals, but definitely one of the best nights out on the West End at the moment.
A really funny performance with a lot of talent on stage. Perhaps the central element of the plot (the fact she is not married at 35 and all of her friends are) is a bit outdated, or perhaps the performance was aimed at 30-somethings. There were a couple of very funny standout moments and it was very light-hearted, if not chock-full of memorable musical-numbers. It was an enjoyable evening out and I would recommend it at the price the tickets are currently going for.
Funny! The pre wedding scene deserves 5 stars! The rest felt a little too directed at the 30 somethings. Rosalie Craig was amazing in her role! She felt very natural right down to her facial expressions and body language! Mel Gielgud was hilarious with her stepford wife’s like faces! The audience went nuts for Patti LuPone but I felt her character was out of place and unnecessary. The music didn’t seem memorable. I laughed and enjoyed it. Well worth seeing!
I went to see Company just few days ago! One glance at the symmetry, the starkness, the midnight-black palette that dominates the stage, and you feel like putting on a sweater. It’s surely no coincidence that the clear modules that serve as furniture resemble ice cubes. Bobby is a New Yorker on the eve of his 35th birthday, and a woman who thinks that marriage is not just a word but a sentence – a jail sentence. It comes with a large dollop of irony. It may be set 40 years ago, but it feels frighteningly modern. There is enough star voltage in the cast to blow the mains ring of the Crucible, and everybody gets a chance to shine. I would recommend to go and see it for sure!
Being a HUGE Company fan, I was delighted to get tickets for opening night of this new West End Production - and I didn't leave disappointed! This modern take on this musical left our sides sore from laughing. The staging was ace, the music was solid (although not the best I've heard) and Patti Lupone was everything I wanted her to be!My only slight critic was Rosaline Craig as the lead didn't really work for me - she is solid in the role but lacked the extra magic that the rest of the cast had. Maybe it was just opening night jitters! I'll defo be back before the run finishes,