Review: COMPANY at THE GARDEN THEATRE

COMPANY is a Stephen Sondheim classic musical that debuted on Broadway in 1970. It reinvented the form of a show like this, as it was more of a concept than a traditional linear narrative. COMPANY is simply a collection of short, isolated scenes showing bachelor Bobby as he engages with all of his married friends as they throw his 35th birthday party. They wonder why he is still single and try to convince him to settle down. But in the meantime, their situations make us worry that maybe marriage isn’t all that they make it out to be. This musical has had several variations, including a 2018 gender-swapped version, first seen in the West End, where Bobby becomes a woman named Bobbie. THE GARDEN THEATRE is presenting the original version of COMPANY to celebrate both their fifth anniversary as an acting company and the thirty-fifth birthday of their artistic director, Logan Vaden. But there is a twist here, as they acknowledge the very heterosexual predecessors and add a queer layer on top. 

COMPANY is chock full of Sondheim classics such as “Being Alive,” “Sorry-Grateful,” “Another Hundred People,” and “Side by Side.” You really need a talented group of singers, and THE GARDEN THEATRE has put together a stacked cast of musical actors who have appeared in their shows over the last five years. Whitney Zangarine (looking like a young Julianne Moore) and Seth Daniel Cunningham kick off this show with an amazing double punch of "The Little Things You Do Together," launching into “Sorry-Grateful.” They set the bar quite high for what is to come, and the ensemble cast maintains this level throughout the show. David Allen III, Stephen D’Amico, Whitney Wyatt, Baker Morrison, Morgan Laupert, Miles Estes, Ivanna Martinez, Katie Chaisson, and Jackie Cortina all amazingly keep COMPANY afloat vocally with their wonderful voices. Truly, it is an embarrassment of riches. Angela Pinina does incredibly with “Ladies Who Lunch,” often bringing it into her register rather than imitating Elaine Stritch or Patti LuPone. It’s a master class in making it your own. Daniel Edwards plays Amy as non-binary, and he physically captures that identity well. His “Getting Married Today” is frenetic and fun, but sometimes loses the exact enunciation required by the  100mph pace. But he is so sweet in the role. The make-or-break in COMPANY is the portrayal of bachelor Bobby, and Logan Vaden triumphantly returns to the stage to sing the HECK out of the part. He’s really great in this production, and it made me wonder why he is not on the stage more often. One aspect of this COMPANY that is interesting is that by making Amy non-binary, you also make Bobby pansexual by default. Amy is presented as “male assigned at birth,” so Bobby’s interactions with “the bride” add a new dimension to COMPANY. It becomes a brilliant way to honor Logan and Daniel’s real-life, longtime friendship and artistic relationship. 

New layers of gender identity aside, COMPANY is presented pretty straightforwardly. It is meant to be in the present, but sometimes the George Furth book betrays that with references that seem mired in the 70s (like people doing karate while being addicted to magazines). Co-directors Courtney Chilton and Sara Denton keep COMPANY moving at a good clip, and Courtney’s choreography fills out the stage nicely. Nicholas White’s set evokes the NYC setting exquisitely and gives the actors a few levels to work with. Kimberly Hart’s costumes are in line with recent productions and serve the show well. Blake Minor’s lighting keeps everything moving as well. Jake Cummings' musical direction is stellar, and he keeps the harmonies tight for this cast. They are performing to a backing track, but he has them perfectly synced throughout the entire night.  Technically, we are in good hands, and the microphones behaved for the most part on opening night. 

COMPANY moves at a rapid pace, and the singers are dynamic. The whole ensemble is strong, and they execute each number with a precision that Sondheim demands. George Furth’s book has always seemed anchored in the 1970s, but at least we have a new spin on Amy's non-binary identity to pull us into 2026. This is a charming production, and well worth seeing if you are a Sondheim or musical fan. It’s nice to see these GARDEN THEATRE alums celebrating five years, and incredible to witness Logan Vaden return to the stage at 35 to take on the iconic role of Bobby. He sings it beautifully. COMPANY is well worth welcoming to the MATCH. It’s a fitting celebration of THE GARDEN THEATRE and its founding artistic director, Logan Vaden. 

COMPANY runs at the MATCH through April 19th. It is performed in two acts, with one 15-minute intermission. There are several bars and restaurants within close proximity, and the MATCH has concessions on-site. Marriage counseling after the show will not be provided. 

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