TOO MUCH TWEAKING LEAVES ‘COMPANY’ REVIVAL FEELING OUT OF SYNC

BY RYAN M. LUEVANO

The long-awaited Broadway revival of Company has finally made its way to Los Angeles, bringing a fresh update to this classic 70’s musical. Winner of five 2022 Tony Awards, including Best Musical Revival, this modern-day twist on Stephen Sondheim’s classic is directed by the talented Marianne Elliott and features a stellar cast led by the incredible Britney Coleman as Bobbie. With its clever humor, unforgettable songs, and contemporary take on love and relationships in New York City, the musical will be running at the Hollywood Pantages Theatre from July 30 to August 18, 2024.

Marianne Elliott’s direction of this show was truly remarkable. She infused it with an abundance of visual splendor, comedy, and farcical elements, creating a truly captivating visual experience. The combination of contemporary and classic set pieces lent the show a cohesive and visually appealing aesthetic. While some of the most entertaining moments can be attributed to the staging, Elliott’s revisions, despite being approved by Stephen Sondheim, including the gender swap concept, ultimately fell short.

This version of Company suffered from too many rewrites and directorial changes that affected the emotional impact of the story. Aside from the visual splendor solace was mainly found in the sections of music and lyrics that were revised the least. Both the gender split and the modern updates are half-baked. The characters seem unrealistic and take away from the original’s intensity. Bobbi’s character arc didn’t track as well, leading to the deflated feeling. Act II was more enjoyable, especially with the multiple-Bobbi’s sequence.

While changing Bobby to Bobbi was a nice idea, it didn’t fully explore how societal pressures differ for men and women when it comes to marriage. The modern updates made the show feel out of sync with itself. Additionally, the chemistry between Bobbi and the couples was diminished by these changes, making it difficult to believe in their relationships. The changes in Another Hundred People and with Bobbi’s potential suitors didn’t work at all—why Bobbi would be with any of them?

The gender swap added nothing to the musical except confusion—confusion to an already confusing show. Director Marianne Elliott has replaced all of Bobby’s complexities and nuances with a giant, loudly ticking clock hanging above the bed representing the character’s biological clock of the now-female Bobbie. Yet the subject of children is almost completely avoided, with passing references but no mention of fatherhood or parenthood. This leaves Bobbie’s sudden desire to settle down feeling unexplained.

Another issue with Elliott’s gender-swapped production is the rigid portrayal of Bobbie’s sexuality. Changing Bobby into Bobbie also means changing the genders of several supporting characters, with Bobbie’s girlfriends now becoming boyfriends. The decision not to have Bobbie date at least one woman misses an opportunity to make the show feel more current and in line with the original production’s queer subtext. It’s unclear whether this rigidity is due to Elliott’s lack of imagination or Sondheim’s refusal to allow the male Bobby to be portrayed as gay. The result is a modern production that feels more stagnant and muddled than one from five decades ago.

Britney Coleman is a remarkable performer who puts in a lot of effort to bring Bobbie’s character to life. Her acting and vocals are outstanding, but she often gets overshadowed by the ensemble cast. One of the standout moments in this revival is the reimagining of “Getting Married Today,” where the traditional wedding day nerves are portrayed in a gay wedding. Matt Rodin, playing Jamie, delivers an exceptional performance, expressing intense anxiety through a song that requires a high level of neurotic showmanship. Jhardon DiShon Milton also gives a touching performance as Jamie’s husband-to-be, Paul, adding depth to the emotional portrayal. In the same song, Marina Kondo showcases her impressive soprano vocals in her role as the Priest. Another memorable moment is Judy Mclane’s performance of “The Ladies Who Lunch,” a song that remains mostly untouched and now feels out of place. Nevertheless, McLane makes the song soar with her stirring rendition.

Marianne Elliott’s collaboration with songwriter Stephen Sondheim to revise the story is like Oscar Hammerstein reworking Richard Rodgers’ music of Carousel, with a producer/director aiming for a modern update. Can you imagine what that would have sounded like? For those who know the original Company, this new version might be unsettling. However, for those unfamiliar with the original, it will be an enjoyable experience, despite some confusion, and you’ll likely forget that you ever saw the show.

LOS ANGELES LISTING INFORMATION

Dates: July 30 through August 18, 2024
Theatre: Hollywood Pantages Theatre
6233 Hollywood Blvd, Los Angeles, CA 90028
Performance Schedule:
Tuesday – Thursday at 7:30pm
Friday at 8pm
Saturday at 2pm & 8pm
Sunday at 1pm & 6:30pm
Tickets: Online: BroadwayInHollywood.com or Ticketmaster.com
Phone: 1-800-982-2787
In Person: Hollywood Pantages Box Office (Visit website for hours)