Company

Although Stephen Sondheim’s ‘concept musical’ Company was groundbreaking in its time there have been few professional productions of it in Australia, so it was a bold choice for Griffith Music Theatre third-year students to produce it as one of their showcase musicals of 2018.

It’s easy to see why Company was chosen - the characters are interesting, the score is good, and it’s by Sondheim. But the musical is so distinctively 70s that it’s difficult to revive. Jacqui Sommerville’s production tries a contemporary update; mobile phones permeate the action, skinny jeans are the fashion statement, and for most of the time it works.

Like every Griffith musical theatre production, the vocals and harmony are excellent, likewise the dialogue scenes which have snap and bite. Jerrod Smith was an appealing Bobby, a man with many acquaintances but few friends. His “Marry Me a Little” had genuine pathos.

Julia Pendrith and Alex Watson brought warmth and reality to the continually competing-with-each-other couple Sarah and Harry, whilst Kyra Thompson was a marvellously manic Amy. Others to impress were Hannah Bennett as the much-married Joanne, and Chenaya Aston as the dumb air-hostess April.

But it’s the musical’s showpieces you remember and they all worked like a dream. Amy’s “Not Getting Married Today” was a riot, “Barcelona” with Smith and Aston was funny and sexy, “Side by Side by Side” was a showstopper, Bennett’s “The Ladies Who Lunch” was as dry as a martini, and Smith’s emotional finale “Being Alive” couldn’t have been better.

Choreographer Joseph Simons showed his hand several times with a spectacular vaudeville routine for “Side by Side by Side” and Emily Corkoran’s showy dance solo “Tick-Tock”.

Rachel Edwards’ basic set of a couch/bed, bar and stools worked well, aided by Tom Dodds’ lighting, and Steve Thornely’s sound.

The only problem I had with Sommerville’s production was the languid pace of the songs, which made a long show even longer, although it did allow Mr. Sondheim’s brilliantly witty lyrics to be clearly heard above all else. So I suppose that’s a plus. And while we’re on the music, I loved the burst of techno in the dance club scene, but it did point up the 70’s feel of the original orchestrations and off-stage group singing which had more than a touch of Barry White about them.

But this is minor carping of what was a very good production of a Broadway classic. The setting and attitudes of the original might have dated but the incisive examination of marriage has not.

Review by Peter Pinne   

Note: Some roles are double cast so a different Robert, Peter and Paul appear at different performances. Reviewed 29^th July 2018.

Photographer: Nick Morrissey