SHOW . CAST . DIRECTORS NOTES . GALLERY . REVIEWS

Set firmly in, and often about the humour and pitfalls of living in New York, 'Company' follows five married, once married, or soon to be married couples and their mutual friend Robert, a 30-something bachelor who has been unable to commit to a long-term relationship even with himself! The relationships are presented in a series of ‘sketches’, through Bobby's eyes, so that we see the less than ideal aspects of duodom! However, it is obvious to the audience that the committed are happier. Eventually, Bobby learns that while relationships aren't perfect, they are a necessary part of ‘Being Alive’. 'Company' is, in effect, a memory play.

When first produced in the 1970s it was indeed rare for a man not to be married by 30/35, a moral issue then, which lead to some probably unfounded theories on the character of Bobby being gay. To ponder too much on this is to miss the show's point. In the 21st century the same issue does not exist, however the real central theme of connection to another with whom you share even part of your life is just as poignant. We live in the age of actual choice as opposed to ‘enforced’ morality but one thing will never alter; our need to share. This is Bobby’s story then, now and forever.

Stephen Sondheim collaborated with George Furth (Book) and Harold Prince (Director) to create 'Company', the first of the Sondheim/Prince shows, which were to lay the foundation for post-Golden Age Broadway musicals. 'Company' was the first non-linear ‘concept’ musical.

Sondheim’s music is so expansive it defies category, ranging from the operatic swells of 'Sweeney Todd' (soon to be a major feature film starring Johnny Depp), the delicate seduction of ‘A Little Night Music’ (which includes ‘Send in the Clowns’, one of the most covered songs of all time) to ‘Company’ which is fresh and energetic yet romantic, like the city in which it is set.


 Michael Strassen (Director)