By JESSICA NEU
Debuting on Broadway in 1970, Stephen Sondheim’s Company, is one of several musicals that underwent a reimagined revival in the 2010s & 20s. The 2021 reimagining brought a new audience and perspective, most notably by gender-swapping the lead role from male to female.
Whether the show’s lead role is Bobby or Bobbie, the main character grapples with the concept of love and societal pressures of marriage just shy of their 35th birthday. Director Dustin Wickett decided to go with Bobby (Sean Whitney) in Stage 62’s production of Company, offering an electric rendition of Sondheim’s silly, humorous, yet sophisticated classic musical. Despite being over half a century old, Company’s brilliance lies in its continued relevance and reflection of the current moment.
Who among us has never experienced heartbreak, flawed companionship, questioned our life goals, or felt like society (or our friends) was telling us to “settle down” based on our age? Bobby’s daily conundrums are deeply relatable, as the audience laughs at the precarious aspects of his life while also realizing that these aspects are what make us who we are. How do we handle societal pressure? Do we retreat or confront them head-on? Do we run away and perhaps try to “start over” in a new location or remain grounded within our roots? Whether we aim to be Leo DiCaprio – rotating through (much younger) girlfriends while seemingly never leaving his yacht, or strongly identify with Beyonce’s “Single Ladies” or Carrie Bradshaw, it is not uncommon for us to still yearn for companionship.
Bobby is supported by a host of friends, comprising four married couples. Each couple invites him over to their respective homes. Guised as a birthday celebration, each visit quickly turns into the couple questioning Bobby’s life choices and why he is still single, while also revealing the flaws in their own marriages. Some fight over alcoholism or divorce, with others grappling with their partner being too “square.” This “grass is never greener” theme provides depth to Bobby’s journey as he learns (or affirms) that he needs to live for himself. Whitney’s relaxed, natural charisma makes him a likable protagonist. He does not envy his married yet troubled friends but still feels a sense of longing. This emotional pull is evident as Whitney delivers “Marry Me a Little” and “Being Alive,” arguably two of Sondheim’s most iconic songs.
Bobby attempts to fill lonely voids with temporary pleasures temporarily. Marta (Emma Mihok) and Kathy (Hannah Taylor) are free-spirited NYC single ladies who entered the early-70s disco/go-go era with flair. April (Grace Phillips) is a flight attendant who believes she is “dumb and boring,” but her deadpan, slightly aloof affect is enough for a salacious evening before she hops on the next Pan-Am flight. The result is a delightful Act 2 duet between Phillips and Whitney (“Barcelona”) and a chance for Taylor to shine in a solo moment as dance captain.
Other standout moments come from two of Bobby’s female friends. Amy (Joyce Hinnebusch) has a bit of a nervous breakdown as she is about to walk down the aisle to marry her long-time, exceedingly nice boyfriend, Paul (Kevin Rabbits). Amy’s cold feet lead to the fast-paced, mildly neurotic “Getting Married Today.” Hinnebusch tackles the classic Sondheim rapid-fire syncopation with ease, resulting in the longest and loudest applause of the evening.
Joanne (Joann Spencer), Bobby’s astute and honest but not pandering friend, is poised with more cynicism than advice after several divorces and a love for martinis. Spencer’s slinky Joanne anchors the ensemble in sophistication and luxury. She draws the audience in during every moment of “Ladies Who Lunch.” Spencer’s magnificent rendition is certainly in the same realm as her Joanne predecessors, Patti LuPone and Elaine Stritch.
Music Director Andrew Peters beautifully spotlights Sondheim’s unforgettable score. The vocal arrangements showcase each performer’s strengths while coming together in choir for numbers that swell as the company sings both in a round and in unison.
At its core, Company is situated in the space between one’s own identity and their innate desire for connection. Can you settle in line with societal expectations and still be happy? What happens if your life looks a little different than your friends’? When do we get “old?”
Regardless of your answer, Company reminds us that “life is company,” and in this moment, we may need that connection more than ever. So, come on over to the Greer Cabaret, make yourself at home, and enjoy the company.
TICKETS AND DETAILS
Stage 62’s production of Stephen Sondeheim’s Company at the Greer Cabaret runs now through July 26, 2026. Tickets available at: https://trustarts.org/production/108472/company
Read Sharon Eberson’s preview here: Preview: Stage 62 Returns to Welcoming Downtown Venue With ‘Company’
Categories: Arts and Ideas, Reviews
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