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Company – Gielgud Theatre

Book: George Furth

Music/Lyrics: Stephen Sondheim

Director: Marianne Elliott

Reviewer: Karl O’Doherty

Genuine insight is rare – and is marked by being something completely obvious as a truth, though the thought may not have occurred to you before.

Premiering in 1970 as a musical about contemporary attitudes to sexuality and relationship status, it ruffled feathers, won awards and revealed that musicals could be serious as well as filled with pizzazz. Marianne Elliott’s new production reverses most gender roles, giving a powerful and fizzy look at a single urban woman’s life as she hits 35, pulling no punches as the show looks at marriage, choices, friendship, and whether or not all candles need to be blown out on a cake for a wish to be counted. It fits so neatly and so vibrantly that it instantly feels like this is what Company could have been all along, we just missed that one little element.

Changing the roles means more than just changing names and costumes. Stephen Sondheim has reworked some lyrics and songs for the production – altering attitudes, emphases and wording to reflect the new focus of the show. It still follows the main character through a series of illustrative vignettes on the day of their 35th birthday – a collection of thoughts and scenes describing an emotional, rather than narrative, arc. Witnessing the various positive and negative states of her friends’ marriages and divorces, Bobbie reflects on her own situation with the boys she goes out with, reflecting (perhaps discovering) her own true wants and needs.

As Bobbie, Rosalie Craig is a whizz. Beautiful vocals, charisma to spare and comic ability to break a full auditorium with little more than an eyebrow raise. It’s just a mature, engaging, memorable and enjoyable performance, simple as that. Craig’s singing is top notch and would steal the show in most other productions in town. Sadly for her, alongside the great Patti Lupone and the rest of a superbly capable cast she will have to be happy as just one of many fine singers. Each number is delivered with creativity in the music, choreography (Liam Steel, thank you) and staging, with the genuine highlight being the level of sass the three boys (Matthew Seadon-Young as Theo, Richard Fleeshman as Andy, and George Blagden as PJ) manage when performing the cracking You Could Drive a Person Crazy. It would be easy to detail the individual achievements of each cast member, but there’s a word limit and really all that needs to be said is that every one of them comfortable shares a stage with Patti Lupone and Rosalie without a single dud in the pack.

Supported by a very clean set design from Bunny Christie and an excellent musical backing throughout, this is a musical that feels brand new. The update to the lyrics feel natural, the characters are well written (though some, like Andy the air steward a little superficial) and the comedy sharp.

In 1970 Bobby the bachelor was the right choice for Company. It’s a great part, super character and is a fantastic vessel for a story about marriage and relationships in a world where the old structure of these things was changing. Now though, Bobbie fits perfectly. It’s a modern musical for a modern audience – intelligent and fun. This feels pretty much exactly like how a new production of a classic should be done.

Booking until 22 December 2018 | Image: Contributed

Book: George Furth Music/Lyrics: Stephen Sondheim Director: Marianne Elliott Reviewer: Karl O'Doherty Genuine insight is rare - and is marked by being something completely obvious as a truth, though the thought may not have occurred to you before. Premiering in 1970 as a musical about contemporary attitudes to sexuality and relationship status, it ruffled feathers, won awards and revealed that musicals could be serious as well as filled with pizzazz. Marianne Elliott’s new production reverses most gender roles, giving a powerful and fizzy look at a single urban woman’s life as she hits 35, pulling no punches as the show…

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One comment

  1. That’s amazing that a show that was first staged what forty years ago now, could be updated to reflect the experiences of a modern woman today?! I have to see this, thanks for the review!

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