“Bobbie, Bobbie, Bobbie, Bobbie.”
The jingle might read (or sound) familiar, as it comes directly from Stephen Sondheim’s “Company” from the musical of the same name, but the spelling and subject are different. That’s right; Bobby has stepped aside so Bobbie can experience her 35th birthday as a bachelorette in the gender-swapped reimagining of Company that already has wonderstruck audiences in Hollywood turning heads and feverishly applauding at the Pantages Theatre.
It would be easy to dismiss the notion that Company, a musical theatre fan-favorite, could benefit from a revamping, let alone one so ingeniously simple in execution, but the 2018 revival, with five Tonys to its credit, has affirmed what we all knew: George Furth’s book and Sondheim’s music and lyrics have never been more adaptable, relevant, and fresh — expressively disclosing insights into not only Bobby’s take on dating, marriage, and divorce, but now Bobbie’s where the implications of being single at 35 are urgently different from a woman’s lens.
Through vignettes with her lovers and married, or soon-to-be married, friends (most of whom are also gender-switched), Bobbie’s story is suffused with new meanings while leaving the script, minus some contemporaneous references and gender-affirmative adjustments, largely untouched. Here, the performers, and the lived experiences they bring to their roles, fill the gaps, creating novel associations and dynamics.
Director Marianne Elliott and choreographer Liam Steel are the creatives who ensure that, while vantage points are moved, intrinsic motivations are changed, and hitherto untold considerations rise to the surface, Company’s narrative remains true to its elevated source material, underscoring the contradictions within its characters who navigate the reality and fantasy of romantic commitment. Is marriage worth it, at least when attested to by those who’ve tried it? Is its curtailment of freedoms a valid enough opinion to disincentivize the endeavor? Or is life simply a game of sacrifice and worthwhile return?
For Bobbie, a surprise birthday party with her closest pals spells an existential mulling over her options, or lack thereof, as she drifts through a sea of actualities and possibilities, becoming both attached and detached, desiring dominion and an antidote to a loneliness spurred by the reminder of her mortality. Paradoxically an active participant and a third-wheeling voyeur in her own life, Bobbie’s assessment of matrimonial bliss or hell is informed by first-hand accounts.
Britney Coleman is a triumph as the protagonist given that she palpably conveys a relatable crisis of being caught between having fun and settling down. Coleman understands the nuances of Bobbie’s dilemma, which is suitably laden with a feminine-centered outlook, perfectly illustrated in an Act II procession of parallel-universe likelihoods involving herself as a married woman, with baby, and newfound responsibilities. Not to be overlooked is Coleman’s mastery of Sondheim’s poeticism which poignantly comes through in the musical’s iconic closer, “Being Alive.”
Although Company doesn’t follow a linear structure, the “first” couple Bobbie spends considerable time with is Harry and Sarah whose respective dialogue aligns with the genders of the original characters. James Earl Jones II is hysterical as Harry, who is trying his darndest to stay on the sobriety wagon, as is Jessie Hooker-Bailey’s Sarah, a fitness-obsessed but dessert-deprived wife who literally manhandles her not-entirely-embarrassed husband with some swanky jiu-jitsu.
The only other tandem who, in this rendition, mirror the genders of their forerunner characters from the 1970 script are Joanne and Larry. The former, portrayed with a cynical gusto and a lurking vulnerability by the remarkable Judy McLane, totals a middle-aged woman who epitomizes a “generation gap” not neatly fitting anywhere. Now in her third marriage to Derrick Davis’s Larry, happiness and fulfillment still elude her, whereas it has been captured by her husband whose contentedness is diametrically straightforward. Davis, the former Phantom, is affecting as the oblivious spouse just as much as McLane is who, with a cadence of lament, takes ownership over her incisive observations about those around her in the toast to end all toasts — “The Ladies Who Lunch,” which is also the best vocal performance in the show.
David and Jenny trade places in this revival as do Susan and Peter. Matt Bittner’s David is now the “square” one, earning cackles of laughter by swearing when uncharacteristically under the influence of cannabis and Emma Stratton’s Jenny has become the more dominant one who lovingly pokes fun at her beau. Similarly, Javier Ignacio’s Peter is now the one who had a fainting episode and, in comparison, Marina Kondo’s Susan ostensibly has the upper hand in a relationship that surprisingly bears sad news — at least at first.
But where Kondo really makes her mark is as the Priest who, despite intoning ethereally, hilariously appears out of all corners in Jamie’s (Matt Rodin) residence, including from the fridge, taunting him unceasingly, just as he tries to subdue jitters preceding his same-sex marriage to his calm and reassuring fiancé Paul (Jhardon DiShon Milton). Rodin is spectacular as the neurotic Jamie, emoting not only with his physicality but supernatural diction in his version of “Getting Married Today.” The insightful lyrics come fast and furiously, and Rodin is always one step ahead, becoming a one-man dynamo before the number culminates with the snooping ensemble unexpectedly and delightfully popping in and out.
Comprising Bobbie’s lovers, past and present, are not women but men. Theo (David Socolar) is the one who got away and PJ (Tyler Hardwick) is the “bad boy” who loves the ups and downs of New York City, vocalizing its hustle and bustle with “Another Hundred People” — a rangy piece which Hardwick effortlessly conquers.
Jacob Dickey is the dimwitted flight attendant, Andy, who is physically attractive to Bobbie (who focuses exclusively on this) to the exclusion of even the slightest semblance of intelligence. Dickey’s rendering of Andy, replete with gut-busting alterations in inflection to go with a blank-faced countenance, is one of the production’s highlights. For instance, the “butterfly” story is one that attendees will reflect on and laugh about for a long time.
Not to mention, Socolar, Hardwick, and Dickey are a vocal revelation in “You Could Drive a Person Crazy,” as their Theo, PJ, and Andy harmonize as seamlessly as a barbershop trio. And, as a wider group, the cast never misses a cue, whether it’s the title number or the party hat-teeming, musical chairs-esque “Side by Side by Side.”
Furthermore, attention should be called out to scenic and costume designer Bunny Christie, in addition to lighting designer Neil Austin. The outfits are tastefully modern without being over-the-top fashionable, and the set consists of clean neon lines, square compartments, and cross sections of living spaces. “Company” letters are, interestingly, rearranged and illuminated in contrasting colors. Lastly, music supervisor Joel Fram and musical director Charlie Alterman have beautifully echoed the instrumentation intended by Sondheim, denoting ripples of lightheartedness, tension, and wistfulness.
After 54 years and counting, Company has continued to be a coming-of-age story at heart. Sondheim’s most autobiographical production transcends gender at a macro level, but from a micro standpoint has something valuable to say when the character bodies are occupied by the opposite gender, spawning a shift in priorities and judgments.
With the revival boasting plaudits of its own, Company has proven to be a uniquely versatile show capable of making perceptive remarks about relationships and marriage; the only change is that the identification with these characters has duly expanded. There’s nothing gimmicky about this gender-swapped Company and, in fact, it feels as natural as the original one does.
Stephen Sondheim’s Company runs through Sunday, August 18th at the Hollywood Pantages Theatre. For more information, and to purchase tickets, visit broadwayinhollywood.com.
