My wife and I have been collecting Sondheims the last few years. Company is one that she has seen - in a gender-swapped version in New York several years ago - but I had not. As is all too often the case, I played music from this musical years before I actually saw a production. (Ah, the life of a musician. I played “Marry Me A Little” at a wedding.)
Over the years, local theater has put on a few of the less popular Sondheims - Assassins, Sunday in the Park with George - in addition to the usual warhorses. For others, we have had to travel to the big city. I’ll put the links for all my Sondheim reviews at the end of this post.
While I have friends who are not Sondheim fans (to each their own, I guess…), his musicals appeal to musicians and poets. His scores are always top notch, with music that enhances the storytelling. His lyrics are fantastically witty and unexpected and emotionally resonant. The stories he chooses to tell are so varied, with no musical like an other. I mean, just look at the list of eight I have seen.
Company is in some ways an “anti-musical.” It defies the conventional plot. There is no couple that meets cute, goes through misunderstandings, and eventually ends up with a happy wedding.
Instead, we get….Bobby. Yep, just Bobby. Just single, unattached, uncommitted Bobby.
But also, the Bobby that has lots of friends, the Bobby everyone loves and confides in, the Bobby that, well, everyone would like to have as part of their friend group.
And this is the paradox, and the subversive message of the musical. The five married couples are each dysfunctional in their own ways, although, as my wife noted, they all love each other - even the ones that get divorced.
Are they happier than Bobby? Probably not, although they are as happy (and unhappy) as any other ordinary human couples tend to be.
Just like Bobby is both as happy and unhappy, contented and discontented, as any normal human being. Would he prefer to be married? Maybe. It’s complicated. Does he prefer to be single? Maybe. It’s complicated.
But what isn’t complicated is that he has friends. He’s not really lonely in that sense. Really, if you think about it (and I say this as a happily married man with a spouse of 24 years), as good as a good marriage is, we all still need friends.
(Side note: even if I were inclined to cheat, it would never be with a friend. Friends are too valuable to risk.)
The musical doesn’t really have a linear plot, but is a series of vignettes, each featuring one of the couples, with Bobby in the middle, observing and responding to the drama.
It seems to me that there are a number of ways to envision this musical. It can certainly be played as a cynical expose of marriage and relationships. Taken the one way, it can be a bitter screed against the very idea of human happiness and connection.
But it can also be seen as a gentle satire of relationships, a realistic look at the compromises and adaptations necessary to live with another person, to build a life together. And also as a paean to friendships, every bit as messy as romance, as filled with compromise and adaptation, but also with genuine connection and life lived together.
The Empty Space leaned toward that second vision, with a less cynical and more generous and affectionate look at all of its characters.
There were a lot of the usual local actors and singers - friends of mine included. From Karin Harmon in the iconic role of Joanne, to Liz B. Williams as the ditzy April.
A few special call outs are in order. Bri Deras was sensational in the “patter” aria, “Getting Married Today” - one of the more difficult musical moments. Karin Harmon as Joanne was perfect in the role.
Overall, the singing was excellent - as good as The Empty Space has ever been. Related to this was the perfect sound balance. Unlike larger theaters, The Empty Space does not mic its singers, and has no room for an orchestra. This means that singers have to project, and the sound engineer has to keep the backing track audible but not overpowering. This production was perfect. I never lost the lyrics, even though different singers had different volume levels.
Finally, I have to mention Bobby. A combination of schedule and personal preference led me to choose the night when Shawn Rader played Bobby. He is officially the understudy, and only got the one night. But, wow. I have loved him in everything, including Sondheim, and he did not disappoint. The entire show was a clinic in physical acting, as Bobby has to silently comment on the drama between the other characters.
And also, “Marry Me A Little” and “Being Alive” were so good. His singing was subtle and reflective. Despite letting his voice drop to a near whisper, he still projected the lyrics. As a musician, I was impressed. Bakersfield is fortunate to have many talented and dedicated thespians, and Rader is one of the best.
I thoroughly enjoyed this show, and was impressed by the high quality in every facet. The intimate venue added to the pleasure.
Somebody hold me too close
Somebody hurt me too deep
Somebody sit in my chair
And ruin my sleep
And make me aware
Of being alive, being alive
Somebody need me too much
Somebody know me too well
Somebody pull me up short
And put me through hell
And give me support
For being alive
Make me alive
Make me alive
Make me confused
Mock me with praise
Let me be used
Vary my days
But alone is alone, not alive
Somebody crowd me with love
Somebody force me to care
Somebody make me come through
I'll always be there
As frightened as you
To help us survive
Being alive, being alive
Being alive!
Unfortunately, I caught the end of the run, and was unable to write before the show closed. So, you won’t be able to see this if you didn’t already.
However, The Empty Space (and other local theaters) have other great shows coming up, and I recommend seeing them if you can.
***
The Sondheim list:
A Funny Thing Happened on the Way to the Forum (Ovation Theater)
Assassins (The Empty Space)
A Little Night Music (Pasadena Playhouse)
Merrily We Roll Along (Broadway)
Pacific Overtures (East West Theater)
Sunday in the Park with George (Ovation Theater)
Sweeney Todd (Broadway)
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