SONDHEIM & COMPANY

When Stephen Sondheim and George Furth’s musical premiered in 1970, critics praised the smart writing and adventurous technique—lacking a strict narrative, it was more a song cycle than an old-fashioned musical. The show won the Tony Award for Best Musical, as well as Sondheim’s score, Furth’s libretto, and Harold Prince’s direction.

Even though it was written nearly 40 years ago, the musical still remains relevant today and the technique of having actors play instruments only brings to light Company’s true beauty. Sure, it’s that glorious, contemporary score—but this conceit also brings out the depth of the piece without having to be padded by huge sets, millions of costume changes, and an unseen orchestra. Here, the show is stripped away of all that. The New York were in is abstract and spare. There’s no liquor in Harry’s drink. No candles for Bobby to blow on his birthday cake. It forces you to hone in on the music each married couple plays to each other, that marriage is, in a musical sense, a duet of sorts in which both participants must be able to keep each other “in tune.”

In 2006, acclaimed British stage director John Doyle (who’s famous for casting actor/musicans and use them to perform the show’s score) revived Company to great success. His “actor/muso” technique is really the only thing we take from the recent revival because the idea of a character to emote not only through dialogue, lyric and acting, but also through melodic lines performed on their instrument helps tell their character’s story. The instrument becomes an extension of their character. Though the other characters double as musicians, Bobby, our central character—the lone bachelor among his “good and crazy” married friends—doesn’t. Bobby, the perpetual outsider, keeps score but doesn’t play one. His married friends, even Bobby’s girlfriends, contribute musically while Bobby, perhaps through his own hesitations, doesn’t seem like he’s ready to join the band.

And the characters in the show are neither good guys nor bad. They are just people going through life (or the motions of it), swept along by encounters (or avoiding them), or driven by fear (fear of being alone, a fear of not knowing how to reconcile that fear with the fear of sharing one’s life). Perhaps that’s the ultimate challenge Sondheim presents to us with Company. These New Yorkers are so much like us—their traits recognizable within ourselves. There is no clear-cut answer on marriage and relationships. Who hasn’t been sorry/grateful? No one wants to be alone. And, as the famous anthem goes, being alone is not being alive.

CAST
BOBBY - Kai Morrison

HARRY - Enrico Banson (Piano/Keyboard/Trumpet)
SARAH - Danamer Mercado (Alto Sax/Clarinet)

PETER - Alex Rodriguez (Flute/Alto Sax/Clarinet/Cello)
SUSAN - Jennifer Ashworth (Trombone/Flute/Clarinet/Tenor Sax)

DAVID - Ronnie Serrato (Alto Sax)
JENNY - Adrienne Fraser (Violin)

PAUL - Alex Plant (Drums/Percussions)
AMY - Laurie Burke (Drums/Percussions)

LARRY - Douglas Mandell (Double Bass/Alto Horn)
JOANNE - Joan D. Saunders (Piano/Percussions)

APRIL - Veronica Mannion (Orchestra Bells/Percussions)
MARTA - Tina Braganza (Piano/Keyboard)
KATHY - Monica Airo (Guitar)