Review Roundup: COMPANY Kicks Off National Tour

The Broadway revival of Stephen Sondheim's and George Furth's Company, winner of five 2022 Tony Awards including Best Musical Revival, launched its North American Tour this month at Proctors Theatre in Schenectady, NY.

The smash hit musical comedy will then visit more than 25 cities in the 2023-2024 season. For a complete list of engagements that have been announced, please visit CompanyMusical.com.

Starring in the role of Bobbie is Britney Coleman, who just completed her run in the First National Tour of Beetlejuice. The iconic role of Joanne will be played by none other than Judy McLane, who is a Drama Desk Award nominee and Outer Critics Circle Award winner.

They will be joined by Kathryn Allison as Sarah, Matt Bittner as David, Ali Louis Bourzgui as Paul, Derrick Davis as Larry, Javier Ignacio as Peter, James Earl Jones II as Harry, Marina Kondo as Susan, Matt Rodin as Jamie, Emma Stratton as Jenny, Jacob Dickey as Andy, Tyler Hardwick as PJ and David Socolar as Theo.

The complete cast of Company also includes Matthew Christian, Christopher Deangelis, Kenneth Quinney Francoeur, CJ Greer, Elysia Jordan, Beth Stafford Laird and Christopher Henry Young.

Read the reviews below!

Bill Kellert, Nippertown: Sondheim’s music remains strong, and the company of Company performs the music well, but something is missing. The production appears flat, without heart. There is a certain lack of believably in the characters, or rather the performances of the actors, that leaves one cold. Whether that is the result of Marianne Elliott’s direction, the fact this is a brand new cast and production just breaking itself in, in Schenectady this week, or just the rewriting of the script that leaves one cold, is up for grabs. Bunny Christie’s scene design plays off neon-framed boxes that the characters emerge from throughout the show is a clever conceit. We are all boxed in our own lives and in many ways isolated from the world around us; this certainly puts it right on the stage for you.

J. Peter Bergman, The Berkshire Edge: Britney Coleman does a very good job playing the role of Bobbie, although, at times, her singing voice takes on a shrill edge that supports her on-stage age, but is disagreeable and almost painful. She looks good, moves well, and plays her role with conviction. If our hero could be a woman, she is a very good and logical choice as a physical type. I just wish I understood why her character is what she is; it is never made clear in a musical comedy book with great and funny lines but no character development for “Bobbie.”

Katherine Kiessling, Times Union: It doesn’t help that the script pairs a passive Bobbie against a crew of colorful couples, ramped up to outsized caricatures in this production. The supporting company superbly grounds their absurdity. The brilliant Matt Rodin deftly navigates the dizzying dread and breakneck pace of “Not Getting Married Today,” now sung by groom Jamie hours before he weds Paul, and unexpected jump scares courtesy of Marina Kondo’s operatic priestess of love and Elliott’s effective staging hams up the number to showstopping proportions. Jacob Dickey finds an earnest sweetness in Andy, the handsome, simple minded flight attendant dating Bobbie. Judy McLane as Joanne, clad in sumptuous furs and sequins designed by Christie, delivers a commanding “Ladies Who Lunch” draped on a barstool and wielding her vodka stinger like a cynical dagger as a warning to those who, like Bobbie, sit on the sidelines watching — but never fully living — life.

Carmichael Cruz, Click On Detroit: Coleman is a cool, yet quirky Bobbie. Having understudied the role on Broadway, Coleman makes it completely her own with an authenticity that has the audience gravitating towards her. With much of the comedy occurring among her friends, it’s when the stage is bare and it’s just Bobbie and her thoughts that Coleman shines, belting “Marry Me a Little” or “Being Alive,” where you see the anguish and frustration as she navigates all of these personal interrogations, giving little revelations in each song as she soaks in what she’s learned.

Dennis Polkow, New City Stage: Coleman is now the lead of the national tour that opened last Wednesday night at the Cadillac Palace Theatre. But her portrayal then and now couldn’t be more different. There was confidence and swagger on Broadway. This Bobbie is more tentative, more nuanced. An interpretive choice to suggest Bobbie is having none of the propaganda her friends are handing her and is remaining her own person?

Steven Oxman, Chicago Sun Times: There are too many musical highs in this show to mention. One of Sondheim’s best scores, it shines here from the emotional, and often comedic, vitality, of an excellent ensemble. For the comic, there’s Act II opener “Side by Side by Side,” for which the cast puts on too-small party hats and Coleman skillfully mixes clownishness and desperation. And then there’s the always-a-showstopper-but-especially-here panicked patter song “Getting Married Today,” performed with neurotic aplomb by Matt Rodin in another perfectly conceptualized gender switch, and which also features characters’ delightful emergence from unexpected spots.

Jared Fessler, BroadwayWorld: Raise a glass to a production that skillfully navigates the nuances of modern relationships and existence. 'Company' is not merely a musical; it's a symphony of laughter, introspection, and celebration—a testament to the enduring relevance of Sondheim and Furth's masterpiece.

Boo Segersin, Twin Cities Arts Reader: All in all, I very much enjoyed this production and the gender-swapped aspects of it were very well done. I enjoyed seeing a female Bobby grapple with the pros and cons of marriage, wondering if it is worth tying oneself down to someone else while still desiring freedom and independence. So often the stereotype is that women are all ready and eager to marry and that iit is only men who face such struggles. It was refreshing to see a female version represented on stage.

AniKatrina Fageol, BroadwayWorld: Britney Coleman portrays Bobbie and brings out a whole new layer of the character, with a touch of vulnerability added to her fiery personality. Britney was actually Bobbie understudy on Broadway, and breathes new life into the character with her background. In a Broadway interview, she was asked

AniKatrina Fageol, BroadwayWorld: Britney Coleman portrays Bobbie and brings out a whole new layer of the character, with a touch of vulnerability added to her fiery personality. Britney was actually Bobbie understudy on Broadway, and breathes new life into the character with her background. In a Broadway interview, she was asked

Drew Eberhard, BroadwayWorld: As Bobbie she is free spirited, carefree, and effervescent. She brings so much joy to the character, and her vocals are top notch. Her “Marry Me a Little...” is poignant, and beautifully delivered. Her “Being Alive,” is a moving rendition, and delivered with utter finesse. There is a sparkle in her eye, and hope in her heart. Her moments with each of the boyfriends shows a different side to her Bobbie, and you feel for her plight.

Christopher Arnott, Hartford Courant: Read the full review...

DC Felton, BroadwayWorld: While the cast is featured throughout the show, a few had some of my favorite moments of the night. The first comes from Matt Rodin, who plays Jamie, a role reimagined for this production as a gay man getting ready to be married. At times, his take on the character has the audience in tears laughing, especially during the show-stopping "Getting Married Today." Another fantastic performance I have to talk about is Judy McLane as Joanne. Her interpretation of the character is a little softer than past performers, yet still gripping, especially during "The Ladies Who Lunch."

Christina Mancuso, BroadwayWorld: Britney Coleman who plays lead Bobbie, is lovely in her role, but also lacks emotional depth and does not have the powerhouse voice to handle the big songs, especially in what should be the show’s emotional gut-punching finale, “Being Alive.”

Rob Levy, BroadwayWorld: Given a fresh coat of paint, this production has some amended changes from its predecessor. The first act has been tightened up and its ending has been updated to fit the modern world. However, the biggest change involves the lead character. Here Bobby, a man on the prowl, has been flipped to “Bobbie,” a woman looking to connect with the right person on her own terms. Also of note, the role of Amy has now been changed to Jamie, giving the show a more modern aspect with the inclusion of a gay couple who struggle with the same partnership anxieties as their heterosexual counterparts.

Mark Bretz, LaDue News: This reimagined version of “Company” switches the genders of its lead character, from Bobby the man to Bobbie the woman, with some other corresponding moves as well. That concept works well enough in this new version, which still relies on the magical Sondheim touch with witty, engaging lyrics and easily likable music. George Furth wrote the original book, and both Sondheim and Furth won Tony Awards in 1971.

Shelby Ryler, BroadwayWorld: With a new take turning our beloved bachelor into a bachelorette, director Marianne Elliott breathes a new life into the staging of this beloved script, giving it its well-deserved 21st-century makeover. It’s Bobbie’s 35th birthday party and with that comes the barrage of probing from her friends: when will she finally settle down with a man and start a family? COMPANY takes you on Bobbie’s journey to find the answer, asking the audience to think about what it means to be married, to be single, and to be alive.

Thomas Floyd, The Washington Post: If only every canonical classic were this well suited to reinvention: By upending the creaky sexual politics of past productions, Elliott has turned “Company” into a contemporary tale of a woman struggling to square the societal pressure to settle down with the have-it-all impulses of modern femininity. In doing so, Elliott heightens Sondheim’s staggering score and lends renewed heft to some of the greatest show tunes ever written. (Elliott adjusted Furth’s book and collaborated with Sondheim on this revival before his 2021 death.)

Geoffrey Melada, DC Theater Arts: The creative team led by director Marianne Elliott wisely leans into this confusion rather than attempting to cover it up. Several hints exist that these events may only be happening in Bobbie’s head, from Neil Austin’s ethereal, purple-red lighting to the way supporting characters emerge from surreal places (a refrigerator, a cake) to the exaggeratedly large birthday balloons in the shape of the number “35” that tower menacingly above Bobbie like Shelley’s “Mont Blanc.”

Alexis Papalia, Trib Live: The cast’s comic timing was impeccable. That includes the show’s lead character, played by Britney Coleman, whose reactions to her friends’ relationship antics were genuine and hilarious throughout. She felt like a best friend anyone would want to have. Seeing the other characters through her eyes made her wistful performance of the show’s powerhouse closing number, “Being Alive,” all the more emotional.

Average Rating: 77.5%

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