Review: COMPANY at Studio Underground At State Theatre Centre

COMPANY is a Sondheim classic, and there are many modern similarities that many could empathise with. In many ways it’s a very suitable production for the third year musical theatre students at WAAPA to tackle. Certainly, there is much in this production of COMPANY to remind us why these shows are a highlight of the year.

Deeply rooted in the 1970s era in which the show premiered, there is an air of modernity about it that led me to wonder if the production could have set it in the modern era. Whilst the limitations of fixed line telephones do contribute to various points of the show, there are many very modern problems that arise, although perhaps the idea that someone in their mid-30s could afford Manhattan apartments on a single salary is what roots COMPANY in the past. Wherever it belongs, this crop of WAAPA 3rd years attack it with maturity and pin-point humour. Not only is the cast easily playing in a different age range, there is a palpable sense of belonging from the instant they grace the stage. The cast are comfortable in their characters and on the stage, which ensures that you are brought in for the whole ride.

COMPANY follows Bobby, a happily single man reckoning with shifting into his late 30s as a lone unmarried person with all-wedded friends. This show shares the lead between Cooper Williams and Josh Condon, I saw Williams in the role. Williams evolved with the character perfectly, confidence and doubt handled perfectly throughout. The show follows Bobby as he compares his own life to that of his friends who between them show depths of married life from unhappily newly-wed to blissfully divorced. As good as Williams plays his role, there is genuine chemistry (or pointed lack of) between the couples in the show that allow the audience to evaluate any pros and cons just as Bobby is.

Sarah (Jess Suares) and Harry (Oliver Miskovich) get to show this earliest, and their one-upmanship and semi-serious ribbing that turn into a wrestling match highlight plenty of personal and relationship imperfections. Whilst Sarah can’t commit to her diet and Harry can’t commit to his sobriety, the sweetness that shines through all their interactions is genuine and heartwarming. Peter (Oscar Langmar) and Susan (Romy Devlin) show a similar chemistry despite their relationship ending at least officially. They both have the air of energy and hope their characters feel whilst being happily resigned to their fate as a couple. Romy Devlin gets to further show her depth as love interest Kathy, and her sliding doors confession to Bobby brings the full force of its ironic humour in the way the two play it.

David (Aydin Suitela) and Jenny (Abby Dickson) are another perfect match, with Dickson conveying genuine naivete in her desire to please, whilst Suitela is brilliantly flippant in his description of his wife’s naivete. Dickson later gets further opportunity to shine with semi-operatic overtures to the Getting Married Today song. That song is, incidentally, underpinned by Amy (Kushinka Jayewardene)’s clear but frenetic words, which sits perfectly in her overall performance in which her character gets cold feet at how wonderful her husband to be, Paul (William Johnstone), is. Johnstone’s aloofness melds into his loving character to perfection. Meanwhile, Larry (Connor Haigh) seems perfectly matched to Joanne (Isabella Rath). Haigh conveys an air of enjoying the freedom because of their particular marriage whilst Rath wants freedom despite it. Indeed, Joanne is the devil on the shoulder throughout the show, unwittingly (and perhaps, poetically) convincing Bobby of the way forward.

Whilst the couples drive the plot, there is plenty in the singles as well, and Charlotte Allen’s Marta delivers a wonderfully impassioned support of the diversity of people and their good and bad sides, whilst Jessie O’Connor as April illustrates wonderful depth (or lack of), with her butterfly anecdote- and her reaction to Bobby’s response- is executed with ideal comic timing.

Choreographer Bernie Bernard adds plenty to the show, with the performers talent evident in the dance sequences. Indeed, at many points of the show the dances, dancers and their steps are a story unto themselves, conveyed with enough simplicity to allow the audience to follow but enough complexity to prove the cast are genuine triple-threats.  Director Sonya Suares utilises the single stage perfectly, covering many locations within the story whilst utilising the space. The band, directed by Craig Dalton, bring all the peculiarities and depth of a Sondheim score to full life, and the fact they were employed at side-of-stage allowed them to become a part of the show.

I cannot claim COMPANY is flawless; some vocals take a while to warm up (although this means that the lyrically rich second act hits a bit harder in the context of the show), whilst internally lit birthday presents don’t quite evoke the feelings or the not-insignificant plot device that candles do. However, the cast become their characters perfectly, the dancing is great, and an evolution of craft is evident. We are lucky to be able to witness these students in full flight, and once again it can confidently be said that the future of musical theatre wants for nothing.

COMPANY is being put on by WAAPA at Studio Underground until June 11. The season is currently sold out. More information available at Perth Arts and Culture Trust.