Venue: Limelight on Oxford (Darlinghurst NSW), Nov 14 – Dec 1, 2018
Book: George Furth
Music & Lyrics: Stephen Sondheim
Director: Julie Baz
Cast: Heather Campbell, Maree Cole, Grace Driscoll, Emily Dreyer, Lincoln Elliott, Jacqui Greenfield, Michele Lansdown, Michael McPhee, Alexander Morgan, Bridget Patterson, Brendan Paul, Ileana Pipitone, Marcus Rivera, Richard Woodhouse
Images by Clare Hawley
Theatre review
Bobby is celebrating his thirty-fifth birthday, with friends who all appear to be married couples, unable to resist badgering him into finding a wife of his own. Stephen Sondheim’s Company is approaching half a century old, and although its conceit seems archaic, we know that the experience it depicts remains resolutely accurate. People are often unwilling to accept single life as a valid and healthy option, and even though the musical does not portray marriage to be comprehensively wonderful, its insistence that Bobby comes to an acquiescence, in spite of his quite fabulous New York City bachelor existence, is representative of our narrow definitions of identity.
George Furth’s book for the 1970 creation might bear an exasperating plot that does not stand the test of time, but Sondheim’s songs continue to be sublime. Directed by Julie Baz, the production is entertaining and spirited, on a very busy stage that although not always visually appealing, is consistently ebullient, with an ensemble cast full of beans. Leading man Brendan Paul does an adequate job of his singing, but it is his radiant high-wattage smile that really charms. Heather Campbell is deeply impressive as Amy, delivering a rendition of the notoriously difficult “Getting Married Today” at an exceptional standard. Another memorable tune, “The Ladies Who Lunch” is performed by the commanding Michele Lansdown, whose interpretation of the socialite lush Joanne, is a delightful contrast to a lot of the squeaky clean goings on. Also noteworthy are the jubilant musicians that make up a sensational six-piece band, led by Antonio Fernandez whose music direction brings us a great deal of class, through his faithful interpretation of a now nostalgic score.
When Bobby finally admits to his loneliness, we question the veracity of his proclamations, wondering if it is a case of peer pressure leading our protagonist, to invent feelings that are not entirely authentic. Sondheim came out as gay in 1998, at the age of 68. Company is essentially a work he had written about the confirmed bachelor, at a time when his sexuality was in the closet, in which the protagonist’s friends are confounded by his refusal to settle with a woman. The incessant nagging leads to Bobby eventual relenting, not by actually marrying a woman, but by performing a ruse of regret and embarrassment, that many gay people have had to carry out, as a strategy in dealing with the heteronormativity that they inevitably have to contend with. Like many LGBTQ people, Bobby probably feels no need to satisfy those traditional expectations, but a big song and dance is always useful in getting them off our backs.
Suzy Goes See 