Reviews of COMPANY
Slick production defies space limitations
by Chris Sims for remotegoat on 04 July 2010
It's a brave decision to put on a show like Company - with a cast of 14, several large ensemble numbers and Sondheim's trademark linguistic complexity - in a space as tiny as the Barons Court Theatre. However, it's a gamble that largely pays off due to a talented cast and some clever choreography in this enjoyable if slightly claustrophobic production.
This is not to say that the limited space doesn't have an impact on the evening. Firstly, it's hot - leave the long sleeves at home and be ready for a battle to get to the bar at the interval. Secondly, those big ensemble numbers can't help but suffer a bit, the opening performance of the title number occasionally turning into a confusing mass of waving limbs. Opening the second act, Side by Side by Side was, in contrast, like watching a song and dance routine in the Tardis - a genius piece of choreography by Angela Nesi that defied the miniscule space. Thirdly, the space might be small but it's a theatre that swallows up sound. The audience was only a few feet away from the action, but better projection was still needed on a number of occasions.
On the whole, however, the cast delivered an energised ensemble performance, bringing pathos and realism to the many characters' individual stories and a feel-good dynamism to the group work. Particular standouts were Olga-Marie Pratt and David Phipps-Davis as bickering couple Susan and Harry, whose comic chemistry was joyful to watch. Marcia Brown also shone as Jenny, both for her understated and sensitive acting and her lovely singing voice.
Robin Innes, as the eternal bachelor around whom the plot centres, gave a grounded and honest performance and was charismatic enough for us to believe that so many people would concern themselves with the love life of one individual. This is one area where the venue's size helped - the show is deeply reflective about human life and love, and the intimacy of the theatre helped us engage with the dilemmas that occupy Robert.
The individual musical numbers were of a mostly high standard, though again the acoustics of the venue created difficulties - most notably in the notoriously tongue-twisting Getting Married Today, otherwise handled with aplomb by Lowri-Ann Davies. Innes and Aideen McCartney gave us a hilarious rendition of Barcelona and the male trio Sorry-Grateful duly brought a lump to the throat. A slight disappointment was Joyce Lorinstein's Ladies who Lunch, which seemed oddly restrained in contrast with her enjoyably acerbic performance in the spoken sections.
All in all, this is a great chance to see a classic Sondheim show up close and personal - just wear shorts, bring some water, and if you're sitting in the front row, don't stretch your legs or you are liable to take out several of the cast.
- Chris Sims
Posted on WhatsOnStage:
Fantastic show! Clever use of the space, fantastic 'look' and wonderful performances from all. Highlights of the show: Aideen McCartney as the air stewardess, and Amy Anzel as Marta are both incredibly funny and their characters are really strong. Daniel Lawrence and Lowri-Ann Davies are superb as the couple who may or may not get married. Lowri-Ann Davis shone during Getting Married Today and then proceeded to top it with the funniest scene in the show. Joyce Lorinstein and Ashley Knight gave gravitas to the older characters of Larry and Joanne and a very strong end to the evening. Robin Innes as Robert was truly excellent; never left the stage throughout the show and sung Being Alive in a completely different way. A truly wonderful show, funny, acerbic, sarcastic, intelligent... everything you could want from a modern musical!
- A Dawes on 5 July 2010
Posted on WhatsOnStage:
A great production of the Sondheim classic. Very strong cast across the board and the intimate space at Barons Court is used extremely well. Sondheim would be proud.
- Sarnia Cherie on 4 July 2010
Posted on WhatsOnStage:
Director Ray Rackham has worked a succession of micro miracles in the alnost non-existent space of the Barons Court Theatre, creating a fast-flowing evening of musical comedy excellence. I have always believed timing is everything in Company, an almost filmic piece of theatre that relies on swift transitions, double takes, pained expressions and physical comedy; as much as it relies on singing and vocal harmony. All of the above were brilliantly executed in this production (a nod not only to Rackham but also to Musical Director, David Keefe). In particular, both have seemed to encourage a close-up, exposed, filmic detail in both expression and voice which is well suited to the space and the piece.
Performances were all a knock out. David Phipps-Davis and Olga Marie Pratt were equally hilarious as the sparring Harry and Sarah, and did a lot to set the pace of the evening. Heather Matthews as Susan almost trade-marked the use of sultry looks into the middle distance, which worked well in moments of intimacy with both Robin Innes (Robert) and Kinloch Anstiss (Peter). Solidly funny performances from Marcia Brown and Anton Tweedale as the pot smoking Jenny and David. Joyce Lorinstein as Joanne sparkled wickedly in the early scenes as the bitchy socialite and breaks down with gusto during Ladies Who Lunch. Much is often missed with Company, because of Furth's wonderful scenes involving Robert's married friends; but in this production three stand out performances from Aideen McCartney, Anna Brook-Mitchell and Amy Anzel as Roberts permanently frustrated girlfriends ensured that we left the theatre humming You Could Drive a Person Crazy and Another Hundred People. All three had beautiful moments on stage alone with Robin Innes (Robert).
On to Robin Innes as Robert. A beautifully constructed performance, three delicious solo songs and a breakdown into Being Alive that for the first time made me realise that the song has two different sentiments. His scene with Kinloch Anstiss in the second act was poignant and beautiful, and (another first) did not seem like a curve-ball sandwiched into the otherwise strong book. Yet, that book is a remarkably, and sometimes frustratingly, wordy one; with chunks of naked, almost always comic exposition; and with the noise of the pub upstairs seeping through the floorboards, audience members have to be extra tuned-in throughout. After a while, however, you realise that you've stopped trying to get everything, because the piece is so well executed both director and cast will not allow you to miss anything. Rackham, Keefe and the company of actors - Innes, in particular - put forward a strong case for the London Fringe: thought provoking, compelling acting in an intimate space. Highly recommended.
- S Campbell on 2 July 2010
Posted on WhatsOnStage:
A completely original, superb telling of a classic musical. The Barons Court Theatre is a very small venue below a very busy pub, so sound was a slight issue, but apart from that this production was absolutely fantastic. The space is designed to engulf the audience, with the cast sat within the stalls and entering the action from and around the audience. It is a chilling, different way of telling this story, a concept that is not new, but seems new within the confines of this particular piece. Ray Rackham has directed an intense, dark piece with the help of blissfully funny and well cast company of actor-singers / singer-actors.
The cast gel incredibly well together and at no time does the Barons Court stage (which is deceptively small) seem too crowded. The opening number sent chills down my spine, fourteen voices singing beautifully and telling us about New York, new love and company. The cast were all fantastic, but notable performances from Robin Innes (Robert), Heather Matthews (Susan), Marcia Brown (Jenny) Lowri-Ann Davies (Amy) and Amy Anzel (Marta). Sondheim certainly writes for women! Numbers that particularly worked well in the space include Company, You Could Drive a Person Crazy, Ladies Who Lunch and Being Alive. The cast were more than assisted by David Keefe, Musical Director; and their voices, which doubled up as an orchestra. I have never seen a production of Company where Someone Is Waiting is a pivotal moment within the show. What Rackham and Keefe have done with that song in particular is worth the admission alone (I wont give too much away, but note my comment above about Sondheim writing for women)! As with any fringe production, some performances are stronger than others, but every member of cast was more than good and more than suitable to the role. The casting director (if there was one) should be applauded as much as the cast and crew.
- Rita Fitzgerald on 1 July 2010
Posted on TimeOut:
By far the most inventive production of Company I have seen. A Sunday night audience fell in love with the show, the comedy and the cast. I cannot remember a funnier Company, or a more suited cast. Fabulous performances throughout. All musical numbers executed with precision and harmony. By far the best piece of theatre the Barons Court has produced. Cannot recommend this enough. This show must transfer.
- Will Kingsmill on 5 July 2010
COMPANY at the BARONS COURT THEATRE. Fantastic show! Great cast, interesting interpretation and most importantly the sound of the original production has never had more clarity. Performances were rock solid and it had a timeless quality, neither wanting to update nor keep it as a museum piece. Loved it!
- Richard Tinsborough on 30 June 2010