Company Touring Reviews

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 ac...

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.

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 ...

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.”

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 ...

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.

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 t...

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.

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, mo...

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?

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,” fo...

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.

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 Sondh...

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.

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 s...

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.

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 bac...

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

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 bac...

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

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, an...

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.

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 o...

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.'

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 Bo...

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.

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 m...

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.

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...

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.

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 settl...

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.)

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 light...

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.”

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...

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.

Like all of Sondheim's shows, the score is gorgeous, intricate, and challenging, and this touring cast does a tremendous job. Britney Coleman's Bobbie is charming and expressive as she enacts some of the most recognizable standards of musical theatre...

Like all of Sondheim's shows, the score is gorgeous, intricate, and challenging, and this touring cast does a tremendous job. Britney Coleman's Bobbie is charming and expressive as she enacts some of the most recognizable standards of musical theatre ('Marry Me a Little,' 'Side by Side by Side,' 'Being Alive') with rich, powerful vocal styling. Other standout numbers are the darkly ironic 'Ladies Who Lunch,' vividly performed by Judy McLane, and, of course, the impossibly staccato patter of 'Getting Married Today,' delivered in a flawless, astounding performance by Matt Rodin as Jamie (supported by fiancé Paul and Marina Kondo's hilarious apparating priest.)

I’d never seen “Company,” but I did know some of the music. I did enjoy the show, but on the way out, I did notice some patrons shaking their heads. Some said they didn’t get it. So, like everything else in theater, you’ll have to make up y...

I’d never seen “Company,” but I did know some of the music. I did enjoy the show, but on the way out, I did notice some patrons shaking their heads. Some said they didn’t get it. So, like everything else in theater, you’ll have to make up your own mind. “Company” is worth seeing.

Speaking of the show’s songs, which also include the memorable “Another Hundred People,” “Marry Me a Little,” “Barcelona” and the show’s namesake early number, it’s probably fair to say the late Sondheim, while unquestionably brilli...

Speaking of the show’s songs, which also include the memorable “Another Hundred People,” “Marry Me a Little,” “Barcelona” and the show’s namesake early number, it’s probably fair to say the late Sondheim, while unquestionably brilliant, isn’t to all tastes. This show is such a nice mix of music and dialogue that it depends entirely on neither element. Furth’s updated text should go a long way for those who do not keep regular company with Sondheim’s work.

With a stellar touring cast led by Britney Coleman (Beetlejuice) as Bobbie and award winner Judy McLane as Joanne and the brilliant re-imagining by Elliot with revisions approved by Sondheim himself, this Company is a perfect tribute to the master pr...

With a stellar touring cast led by Britney Coleman (Beetlejuice) as Bobbie and award winner Judy McLane as Joanne and the brilliant re-imagining by Elliot with revisions approved by Sondheim himself, this Company is a perfect tribute to the master providing a fresh contemporary perspective on his inciteful lyrics. Throughout a series of non-linear vignettes, Bobbie observes her married friends’ interactions which both scare the bejesus out of her and shifts her closer to a breakthrough.

And then there’s Bobbie herself, who spends most of the show adorable but inscrutable, a cipher onto which others project their wants and fears. Coleman’s default mode is a wry smile, and she doesn’t devise ways to limn the cracks in Bobbie’s...

And then there’s Bobbie herself, who spends most of the show adorable but inscrutable, a cipher onto which others project their wants and fears. Coleman’s default mode is a wry smile, and she doesn’t devise ways to limn the cracks in Bobbie’s superficial blasé cheer. The result is that Bobbie is kind of boring — someone who doesn’t have much to say beyond platitudes about who she is and why she’s unmarried, certainly not someone who’d justify so much raging interest among her friends about her romantic fate.

It’s still the same show, but in attempting to stage it in present day, they only shine a spotlight on how dated the show really is. Which is only worsened by some very outdated attitudes on Bobbie’s supposed need to get married. Honestly by t...

It’s still the same show, but in attempting to stage it in present day, they only shine a spotlight on how dated the show really is. Which is only worsened by some very outdated attitudes on Bobbie’s supposed need to get married. Honestly by the end I wasn’t sure what she wanted or why, and for a show about a character growing, there wasn’t much growth.

The production is entirely fused with the bluish glow of the cellphones which tether the characters together and, in many ways, the continued relevance of the themes of the piece shine through. Musings on connections and loneliness seem freshly perti...

The production is entirely fused with the bluish glow of the cellphones which tether the characters together and, in many ways, the continued relevance of the themes of the piece shine through. Musings on connections and loneliness seem freshly pertinent as Bobbie flicks through voicemails alone in her tiny apartment. The comedy of each scenario is played up to cartoonish highs and Liam Steel’s sharp choreography punctuates the staging perfectly, making the evening a bonafide musical theatre smash. Elliott has concocted dreamy, surrealist imagery that takes us into Bobbie’s imagination and conveys a more emotional story than realism could muster. With sets and costumes by Bunny Christie, audiences are treated to imaginative visuals that supersede the standard LED screens of modern touring shows.

The show retains some of the 1970s feel, with minimalist set design by Bunny Christie and Stanley Kubrick-esque numbers like “Poor Baby” and “Side by Side by Side.” It’s Sondheim at his best, and the talent in this show is a fitting tribute...

The show retains some of the 1970s feel, with minimalist set design by Bunny Christie and Stanley Kubrick-esque numbers like “Poor Baby” and “Side by Side by Side.” It’s Sondheim at his best, and the talent in this show is a fitting tribute to a man whose unique sound changed the American musical. Company is the gift that keeps on giving…the more you listen to it, the more you take from it. At its surface, it’s about a woman who just wants to live life to the fullest. Probing deeper, its themes resonate with anyone who has felt alone, who feels adrift, and who craves human connection. After all, we all want “someone to crowd us with love.”

With its charming and strong cast, Company was a clever production of talent and craft on display. Freshened up from its 1970 debut, this version switches out Bobby with Bobbie played by the exquisite Britney Coleman. Coleman carried the story with e...

With its charming and strong cast, Company was a clever production of talent and craft on display. Freshened up from its 1970 debut, this version switches out Bobby with Bobbie played by the exquisite Britney Coleman. Coleman carried the story with ebullient energy portraying all the frustation of being a single gal but also the joy of it as well — especially when she sees how not-as-happy her married friends are.

“Company” stands tall among Sondheim’s many great works, the likes of which also include “Sweeney Todd,” “West Side Story” and “Into the Woods.” Like those musicals, it continues to stand the test of time — and in this case, also ...

“Company” stands tall among Sondheim’s many great works, the likes of which also include “Sweeney Todd,” “West Side Story” and “Into the Woods.” Like those musicals, it continues to stand the test of time — and in this case, also adjusting to the times.