It’s Complicated: Love, Loneliness, and Company

by Donald Toal

People are exhausting.

Of course, when we make this statement, we’re usually referring to the dreaded “general public,” but the people we choose to welcome into our lives are different, we tell ourselves.  

When we find our “person,” our other half, then everything falls into place and we become complete.  

Is it ever really that simple, though? A couple centuries of western civilization would tell us so.   But how do we find that connection so easily in a messy, confusing and complicated world?  And what if it turns out to be the opposite of what we thought we wanted in the first place?

These questions and more (with no easy answers given) are kicked around throughout Stephen Sondheim’s 1970 concept musical Company.  Originally drafted by George Furth as a series of 11 one-act plays exploring marriage, divorce and dating in New York City, Furth and Sondheim then collaborated to make a show that has received numerous revivals and reimaginings over the decades (with the initial Broadway run produced and directed by Harold Prince, with orchestrations by Jonathan Tunick).  This most recent outing at Ritz Theatre Co., running in Haddon Township through February 1st, has all the hallmarks of what make it a hidden gem of Sondheim’s career, with dysfunctional characters and musical introspection in equal measures.

Director Matthew Weil’s scenic design for the show is slick and intriguing right from the word go, with a glowing show logo hanging over the stage like a neon bug-zapper drawing you into your seat.  Weil’s design for the production is minimalistic, with pops of color like purple, blue and pink to catch the eye and add to the ambiance.  The aesthetic wouldn’t be out of place at a trendy bar or nightlife hotspot, but here it keeps the focus squarely on the characters and their interactions.  Staging from Weil, assisted by MJ Santry, highlights this aspect as well, particularly with regards to groupings that isolate Bobby from the rest of the cast–or add a layer of claustrophobia to the moment.  And Weil’s choreography is clever and characterful, particularly during numbers where the cast gets to embrace their inner camp (such as the Act Two romp “What Would We Do Without You?,” which is caked in delicious ha-cha-cha cheese, with a touch of nihilistic glee).  The sum of these parts is a vision crystal clear in both its visual identity and the personalities its storytelling is centered around.  

Music and Vocal Direction by Nancy Dickinson blends smoothly with this chic yet insightful vibe.  From the first echoing choruses of ‘Bobby’ (a vocal motif the show returns to throughout), the singers meet the challenges of the score with excellent vocal technique, even when navigating the high speed patter of Sondheim’s trademark lyrical wordplay.  The singers don’t miss a beat, and infuse the score with a beautiful warmth and smoothness when called upon to do so.  Their voices blended together as one creates a gorgeous quilt of music and sound.  The small but razor-sharp pit orchestra – consisting of Jared Moskowitz on Piano, Mark Petti on Bass, Derrick Banks on Percussion, Jim Sheffer on Brass, and Sam Brooks on Woodwinds – serve to anchor the action and provide a crisp groundwork for the singers to build on.  They keep precise tempos throughout, even through the more sweeping and frantic musical moments of the score.

The supporting production elements blend seamlessly with the established vision to keep things hip and running smoothly.  Megan Iafolla’s Costume Design leans into the basic blacks, with bursts of color where it’s needed most–like Bobby’s purple silk shirt establishing him as the central heart of the show.  All looks are believable in that classic 70s style, even in monochrome.  Lighting Design by Jen Donsky and Master Electrician Brian Gensel gives plenty of pizzazz to balance this out, with soft focus for moments of isolation and plenty of complementary colors to bring the city and its residents to life.  Gensel also does double duty on Sound Design, with some clever touches like a NYC soundscape for preshow and some period-appropriate answering machine filters that really immerse the audience in the vibes.  Stage Manager Zachary R. Taylor and Assistant Stage Manager Meg Bryan keep things moving swiftly, ensuring that Lori Alexio-Howard’s Properties and Master Builder Seth Chaffin’s scenery are treated with care and efficiency.  

When Furth and Sondheim wrote the book for Company, they took advice from Harold Prince that the piece needed a central character to stitch together these disparate vignettes.  That brings us to Bobby.  Here, as played by Kyrus Keenan Westcott, he is every bit the charismatic, personable fellow he should be, whose perpetual bachelor status is a constant source of novelty and concern for his coupled friends.  Westcott plays him with a keen eye for comedic expressions, with every take and side glance at his friends’ bizarre or inscrutable behavior endearing the audience to him as much as it establishes his character.  Yet those piercing eyes also give us a direct view into Bobby’s soul, and as he struggles with finding meaning along his journey each regret and hesitation is intimately clear.  Westcott’s singing chops also give Bobby’s internal conflict the perfect voice, each solo delivered with grace and power appropriate for the emotions of the present moment.  His final ballad, “Being Alive,” is every bit the showstopper, a crescendo of longing and living without regrets.

The circle of colorful friends that Bobby surrounds himself with each add their own personalities to the mix, and each are portrayed with their own distinctive charm.  Sparring partners Harry (David J. Fusco) and Sarah (Jennie Santiago) volley through their passive-aggressive banter with glee and gusto, and their impromptu karate sessions are a hilarious highlight of the first act.  Fusco in particular throws himself into the work (literally and figuratively), making for some fantastic sight gags.  And Santiago’s foodie frenzy matches that zany energy without a crumb wasted.  Nick French’s Peter and Kristine L. Bonaventura’s Susan are also great fun to watch as they keep Bobby on his toes, with French’s abrasive snark and Bonaventura’s chipper Southern drawl unbalancing Westcott from both sides in some cheeky moments.  They both have excellent chemistry with their scene partners, which adds so many delightful little details to each interaction.  Marissa Wolf as Jenny and Edwin “Rico” Santiago as David are able to deliver beats of depth and poignancy in the mix of lighter comedy, giving their scenes unexpected weight and impact.  Their voices blend well with the other couples and hold their own in solos wonderfully, particularly during “Sorry - Grateful” and “Poor Baby.”

Michael Arigot’s Paul is amiable to a fault, and his grounded, sincere devotion to his fiance Amy (CJ Mooney) is a perfect counterpoint to their manic, maudlin crashout “Getting Married Today.”  Mooney sprints through this number with crisp diction and laser precision timing, without a word or emotional crisis dropped along the way, resulting in a breakneck comedic tour de force.  Both Arigot and Mooney play off of each other in a way that makes their mismatched dynamic as believable as it is funny.  Similarly, Mikal K. Odom’s optimistic Larry is a perfect contrasting counterpart to the acerbic, cynical Joanne, as played by Melissa Connell.  Odom navigates his scenes and solos with dignity and just the right amount of cheekiness.  Connell is unflinching and unrepentant as Joanne, with the raw vocal power and control to complement these choices, making “Ladies Who Lunch” a standout solo from the second act.  Her scenework with Bobby similarly pulls exactly zero punches, making sure the penultimate scene of the show is a wakeup call for both Bobby and the audience.

Bobby’s disparate dates and flings round out the cast, each with their own unique dynamic with Westcott.  The trio–including Leah Herman as April, Gillian Booth as Marta, and Doménica Castro as Kathy–gives an Andrews-Sisters-esque performance with “You Could Drive a Person Crazy,” which joyfully embraces the kitsch and tight harmonies at play.  Herman’s April (in addition to doubling as the Choirgirl in “Getting Married Today”) portrays the character’s dim personality with a dry wit and skilled deadpan, earning sizable laughs while still ensuring April comes off as human and not just a punchline.  Her performance with Bobby in “Barcelona” perfectly sells the quiet, tentative awkwardness after a moment of connection. Booth nails Marta’s pretentiousness almost too well, portraying a worldly free spirit who completely buys into her own B.S.  “Another Hundred People” is sung with nimbleness and the same rush one gets from people watching at a busy intersection, fitting the mood of the moment nicely.  And Castro as Kathy has an earnest openness which is as charming to Bobby as he is baffled by it.  Her chemistry with Bobby comes organically, making their goodbye scene all the more impactful.

There are few shows quite like Company.  While there may not be a plot to speak of, it has so, so much to say in terms of character.  It explores how we stumble through life, often messily, and the people we find in it along the way.  Perhaps its most poignant concept (at least, as this reviewer’s interpretation) is the challenging decision of choosing ourselves vs. seeking happiness in someone else.  But, like all good art, it’s best to draw your own conclusions.  Stop by the Ritz and find out for yourself.  Just be sure to call ahead–Bobby’s a popular guy.  

Company runs now through February 1st at the Ritz. You can purchase tickets here: https://www.tix.com/ticket-sales/RitzTheatreCo/6520