Review: Sondheim Musical is in Good COMPANY at Sullivan Rep

Over 50 years since its original Broadway production had its out-of-town tryout at Boston’s Shubert Theatre, the Stephen Sondheim musical Company, with book by George Furth, has had three revivals. Its third and most recent, in 2021, was a cleverly reimagined gender-swapped production that won five Tony Awards including Best Revival of a Musical, and played Citizens Opera House on its North American tour last spring.

Now through Sunday, April 20, Sullivan Rep is presenting the original version of the musical in an Easter weekend run at the American Legion Nonantum Post 440 in Newton.

The search for love remains at the heart of the story of Robert, an about-to-turn-35 and still unmarried man. At his birthday party, Robert (“Bobby, Bobby, Bobby baby…”) is surrounded by his most loyal friends, who feel free to ask why isn’t he married? Why can’t he find the right woman? And why can’t he just settle down and have a family?

In a nod to enlightenment, one of the friends surreptitiously asks about Bobby’s sexual preferences, which might make the question why can’t he find the right man? This version, based on the original, is set in 1970, though, so that plot twist is short-lived. Even with 55-year-old sensibilities, “Company” remains a thought-provoking look at New York couples at various ages and various stages of coupling and uncoupling.

Sullivan Rep founder and artistic director Dan Sullivan not only plays the beguiling Bobby, he’s also the production’s director, choreographer, and Costume Designer.

Composer and lyricist Sondheim – who died in 2021 at age 91 – left a musical theater legacy that includes writing the lyrics for “West Side Story” and “Gypsy,” and writing the music and lyrics for “A Funny Thing Happened on the Way to the Forum,” “Follies,” “A Little Night Music,” “Sweeney Todd,” “Merrily We Roll Along,”  “Sunday in the Park With George,” “Into the Woods,” the tune-filled “Company,” and more.

Sullivan’s brisk direction and imaginative choreography match well with Sondheim’s score and Furth’s book, and showcase a talented cast Sullivan leads while holding center stage throughout, in an appealing portrayal enhanced by his supple vocals on the title song plus “Someone Is Waiting,” “Marry Me a Little,” “Side by Side by Side,” and the stirring, full-throated “Being Alive.”

Bobby may have the heart of a hot-to-trot flight attendant, April (Stephanie Barney), as well as the also besotted Kathy (Melissa Paz) and Marta (Chantel O’Brien), but the trio of smitten suitors see him clearly, too, as they demonstrate on “You Could Drive a Person Crazy.” And on “Tick-Tock,” as Bobby and April enjoy each other, Paz is featured on a balletic dance interlude that adds to the romance of the moment.

As Amy, Meghan Rose is sensational on the production’s most manically marvelous musical moment in “Getting Married Today,” a funny and feverishly paced musical lament by a bride-to-be who finds herself overcome with uncertainty. Should she meet her fiancé Paul (a charming Kevin Hanley) at the altar or skip out on the wedding ceremony?

One of act two’s eye-catching production numbers finds the couples joining Bobby on “Side by Side by Side”/“What Would We Do Without You?” in some of Sullivan’s most clever choreography, featuring a perfect-for-springtime array of colorful umbrellas.

In the original production, Elaine Stritch made her Joanne – a martini-swilling socialite – and her musical toast to “The Ladies Who Lunch” the stuff of legend. In the most recent revival, Patti LuPone put her stamp on the iconic number. Stritch and LuPone are hard acts to follow, of course, but Veronica Anastasia Wiseman amps up the volume and adds her own acidic dash to the song. As Larry, Joanne’s loyal and understanding husband, Ray O’Hare leavens his milquetoast character with kindness.

Sullivan’s costumes suit each character, Eric Fox’s lighting adds mood, and there’s great support from an excellent eight-piece orchestra. However, Rick Grenier’s properties design – with an afghan-accented couch that appears to have come straight from the set of TV’s “Roseanne” – lacks the necessary sleekness and sophistication for the Manhattan world of these characters.