“Rarely do you see this level of talent from an amateur group on a Fringe stage.”
Sondheim’s multi-award-winning Company burst onto Broadway in 1970, flying in the face of popular narrative-led musicals and instead presenting a series of vignettes around Bobby, a thirty-something man, happily single, but surrounded by couples who all want to see him get hitched. While the celebration of being happily unmarried may have caused quite a stir at the time, for today’s Tinder generation the themes still have great relevance, and Company comically dissects what being in a couple is really like.
And it’s the comic element of the show that EUSOG have really mastered with their interpretation. The sneaky looks, the perfect timing, the inflections and staging all contribute to the feeling of satire the whole musical embodies, and director Grace Dickson has done a marvellous job in weaving together one consistent style through what is really quite a fragmented production.
Of course, having the right cast helps, and this one is just oozing with talent and personality. Bella Rogers is a delight as airhead April, and Ellie Millar is on point as prudish housewife Jenny, whose attempts to swear while being stoned for the first time had me in stitches. But comically it’s Kathryn Salmond as Amy who steals Act 1 with a sensational rendition of the notoriously difficult patter song Getting Married Today. It’s fast, it’s controlled, completely in character and worth buying a ticket for for those few minutes alone.
Yet while I could really pick any number of songs as stand-out highlights of this performance, it’s Esme Cook’s The Ladies who Lunch that launches this show into the stratosphere. With depth, sensitivity and a killer belt, demonstrating maturity well beyond her years, Cook delivers a goosebump-inducing class act that deserves to be witnessed far and wide. Rarely do you see this level of talent from an amateur group on a Fringe stage.
And then of course there’s the main man, Ethan Baird who brings a subtle and amusingly awkward approach to central character, Bobby. His natural charisma and swagger make him instantly likeable, and he balances the role of observer and participant in the action with ease. His Being Alive builds and teases, much like the structure of the song itself, and the rousing final chorus is delivered with aplomb – a fitting finale to a powerhouse performance throughout.
The musical style and structure of Company isn’t for everyone, and at well over two hours (with interval) it’s quite a slog. At times the choreography lacks a little polish and pizzazz, and the sound levels could do with a bit more balancing out to allow some of the vocals to really soar, but weighing all that against the sheer heart of this performance, you’d really be mad to miss it. Go alone or go with company. Just go and see Company.
Reviewer: Steve Griffin (Seen 6 August)