As the crowning jewel in the Crucible’s 40th birthday celebrations, Sondheim’s brilliant concept musical Company sees the introspective reflections of eligible bachelor Robert on his 35th birthday. Unfortunately the Crucible’s production falls a few candles short of a full cake.
The performance of Bobby is central to the success of Company as the marital relationships of those around him highlight his own neglected loneliness and to the detriment of the show it would seem that Daniel Evans’ Bobby is not the perfect fit. Portraying the eminently attractive singleton, Evans displays all the charm and talent that has made him a popular choice. His execution of the climactic scenes in which Bobby’s emotional barriers are broken are nothing short of excellent but it lacks a developed sense of contrast as he struggles to embody the presence of the magnetic and charismatic bachelor. Not to doubt his talent, this is simply bad casting.
As a concept musical Company lacks any distinct sense of plot, instead choosing to reflect on a number of possibilities within the mind of Bobby. It speaks volumes then for Sondheim’s music that the show has a history of success, receiving 14 Tony nominations in its original production.
Despite an undistinguished start the cast does great credit to Sondheim’s score with a string of notable performances. Damian Humbley’s golden tenor delivers ‘Sorry-Grateful’ with class whilst Rosalie Craig’s excels as Marta, resonating with vocal power and control.
Alongside these vocal displays is the constant humour of George Furth’s original book. In her first musical performance Francesca Annis is just one of a number of supporting actors who relieves the audience from the show’s frank emotional matters with interspersed moments of dry comedy. Playing thrice married and wisened Joanne, she provides the contrast of interior and exterior expression that is missing in Evans’ performance, smashing the characters own epiphany, ‘The Ladies Who Lunch’.
As the show accelerates towards Bobby’s inevitable realization the cast becomes more endearing on Christopher Oram’s well-designed stage that sets the show in 1970s New York. Few of the marital couples seem unlikely matches and it is maybe for this reason that Evans’ casting seems out of place. Company might not be the lightest choice for a musical at Christmas but this isn’t theatre about escaping. Jonathan Munby’s production is tight and signs off with the confirmation of our own desire to let others in and be crowded with love.
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