Robert or Bobby — as he's known to his friends — the protagonist of “Company,” Stephen Sondheim and George Furth’s 1970 musical, has always been an enigma. Why won't this confirmed New York bachelor, who is celebrating his 35th birthday and not getting any younger, finally settle down with a wife? What is he so afraid of? This question is the springboard for a groundbreaking concept musical.
Strategic modifications have been made to accommodate the shift, but the production is largely faithful to the spirit of the original. Unencumbered by her own directorial scheme, Elliott leans into the freedom of musical storytelling, a mode in which realism is dabbed on rather than studiously applied. The inconsistencies and interpretive static never disappear, but Sondheim and Furth’s 'Company' comes through where it matters most — theatrically.
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