Review: Barrington Stage updates Sondheim’s ‘Company’

PITTSFIELD, MASSACHUSETTS » “Company” was a groundbreaking musical when it was first produced in 1970. Not only was it one of the first musicals to explore less-thanperfect adult relationships, but it did so in a nonlinear way that changed the traditional way musicals told a story.

The current production by the Barrington Stage Company, which runs through Sept. 2, shows the Stephen Sondheim work deserves its classic status. The music is sensational and the show is filled with comic moments. Jeffrey Page’s choreography is vibrant, and the orchestra, under the direction of Dan Pardo, is superb. As a bonus, director Julianne Boyd has assembled a firstclass cast.

The show uses the isolated existence of handsome bachelor Bobby to examine the lovehate relationships of the five couples that are his best friends. “Company” makes the point that sometimes you can feel alone, even in a good relationship or marriage.

Though his friends all have issues, they are happy. Bobby learns that to avoid being in a relationship because of a fear of commitment is a guarantee to not only be alone, but also to be lonely.

The production is offered as a period piece, but even though attitudes, marriage and commitment have change greatly over the past half- century, Boyd and her cast make it clear the themes of the play and the conflicts of the couples still exist in contemporary society.

There is the competitive couple who constantly one- up each other, and the couple who become compatible enough to live happily together only after they are divorced. One partner’s devotion to the other causes problems because it conflicts with her own low self- esteem, while an older wife is so dismissive of her husband in public that no one believes him when he tells of her sweet behavior in private. Finally, there is the devoted couple who are so different in their attitudes about social behavior that they seem a mismatch.

We see all of them through the eyes of Bobby, a handsome, 35-year- old bachelor, portrayed by Aaron Tveit as an unobtrusive observer. George Furth’s book tells us little about Bobby, and Tviet is faithful to that failing. His main function in this interpretation is to provide an outsider’s view into the private lives of the couples.

A problem with the Barrington Stage production results from Tveit playing Bobby as a passive character. We are uncertain as to why the others want him as a close friend and confidant. Tveit presents a handsome figure who is a genuinely nice guy, but for most of the play, he is rather anonymous. It’s not wrong to make Bobby a cipher, but it doesn’t add depth to the friendships.

This same passivity extends to his relationships with the three girlfriends we meet. We might understand why they are attracted to Bobby, but his disinterest with the women makes his expressed interest to be married seem insincere.

The only times Bobby reveals anything of himself is through the songs “Someone is Waiting,” “Marry Me a Little” and the iconic anthem, “Being Alive.” In these moments, Tveit is marvelous. The doubt he expresses in these songs is revealing, touching and real. If we could see more of this personality throughout the show, the production would have been much more genuine and sincere.

In this effort, most of the fun comes from the musical numbers and skits. The ensemble numbers are especially great. “Side by Side” is high energy, the title song is catchy and “The Little Things We Do Together” is cynical fun.

I ndiv i dual per f ormances are all excellent, led by Lauren Marcus performing “Getting Married Today,” during which her character, Amy, is the personification of a bride having a meltdown on the morning of her wedding. Mara Davis is a comic delight as the dimwitted April in ”Barcelona,” while Ellen Harvey’s interpretation of “The Ladies Who Lunch” is the meanest rendition of the number I’ve ever experienced, but it is a choice that — right or wrong — is memorable.

The same can be said of the entire production. The interpretation itself might resemble the characters in the musical — less than perfect — but, as this production proves even a 2 hour, 40 minute production of a Sondheim musical is still memorable.

“C o mpa ny ” runs through Sept. 2 at Barrington Stage, 30 Union St. For a schedule of performances or ticket information, call 413-236- 8888 or visit http:// barringtonstageco.com.