Revu Company

“Company”

What is there left for me to say about Joshua Robey and Fennec Fox Productions' stunning rendition of George Furth and Stephen Sondheim's Company? The show has already been praised effusively by an array of reviews, and my understanding of musical theatre is by no means extensive. To make my own contribution, it may suffice to give a few brief personal thoughts.

Known as one of the seminal 'Concept Musicals', Company is less concerned with a linear plot than it is with exploring themes of love, marriage, loneliness, and growing up through the experiences of popular newly-35-year-old 70's bachelor Bobby (Aaron Gelkoff). His attention is constantly pursued by 5 couples of close friends (each with their own unique stories for Bobby to uncover), 3 romantic partners (introduced by a gloriously camp number, You Could Drive a Person Crazy), and questions about whether he is ready to get married and move on in his life.

I was intrigued when I heard that Robey was taking on a musical at the Playhouse, having only seen his productions of The Writer and Uncle Vanya - both decidedly un-Sondheim. Confident in Fennec Fox's ability with dialogue and acting, I was interested in how they would handle flashy musical elements. Ironically, my only significant of criticism of this show is that is sometimes struggles in sections of dialogue. Particularly in conversations involving much of the cast together, Robey's inclination towards frequent pauses and general space between line deliveries can sometimes make things feel a little unintentionally awkward. Slightly more energetic pacing would bat away any feelings that the audience is eagerly waiting for the next musical number.

With this small problem aside, I can explain that the prevailing success of the evening is these numbers in question. Every song is delivered with distinctive, energetic physical and vocal performances. In particular, large ensemble numbers (e.g. Company and Side by Side by Side/What Would We Do without You?) are vitalised with powerful, meaningful movement by choreographer Alex Jefferies. Other highlights include the notoriously difficult Getting Married Today, performed with lively physical skill, vocal power, and humour by Rosie Sutton, and The Ladies Who Lunch, delivered with similar expertise by Orla Wyatt.

The band, directed by Tom Constantinou, are more the capable of keeping up with this cast, and always sound incredible. Particular pleasure comes from William Zarrattini on the drums, and a brass section comprised of Joe Raven, Jerome Pailing, and Perry Wade.

Company

Many numbers are also aided by the gorgeously garish PlayPlace-esque set design of Holly Rust, which effortlessly heightens the narrative's focus on the difficulties of growing up and affords the cast endless opportunities to slide and climb their way between choreographed positions (literally, to play). (Additional set pieces are also ingeniously lowered from the fly tower thanks to the incredible expertise of renowned Fly Operator Gilon Fox.)

On the cast specifically, Fennec Fox have delivered the rare joy of strong performances across the board: there is not a single weak link, and everyone is operating at an extremely high level. They have their specialties (some are more actors, others more singers), but nobody onstage ever feels secondary or replaceable. All of Bobby's friends and girlfriends feel distinct and interesting (thanks in part to Hannah Walton's gorgeous 70's costumes), and particularly memorable characterisations come from Laura Boyd, Olivia Russell, Graciela Blandon, Nathalie Bond, Sutton, and Wyatt. At the centre of the production is a consistently strong, charming lead performance from Gelkoff, who dispatches every solo with astonishing confidence and vitality.

Overall, then, Fennec Fox has yet again produced one of the best pieces of Student Theatre I've experienced. As we shuffle out of the Playhouse, I am grinning from ear to ear, in awe of the incredible talent I've witnessed. Robey and his team have more than proved their aptitude for large-scale musical theatre as well as intimate drama. What next?

4.5/5

Thanks are due to Izzy Moore and Milo Marsh, for the insights of our post-show chats.

Review by George Loynes

The link to George Loynes’s review blog is: https://roomwithreviewblog.blogspot.com/?m=1&fbclid=PAZXh0bgNhZW0CMTEAAadKaD9DWn-5mwBnPczPWh3KXF0Wm5MTE_D9WbXEiWAbpuhhg9yNdnyYWKaYSg_aem_MX4-paKRuQoHXi7vgFXpPw