Ah, romance of the 21st century: Dates have been replaced by “chill sessions,” careful affections have been eclipsed by convenient and meaningless interactions, and the world spins backwards on its axis. But is it really that simple? Has a general pandemic of apathy infected us, or is there something deeper driving this fear of commitment?
Company investigates the emotional messiness of affection, commitment, and marriage with emotionally-evocative musical numbers and rapid, thought-provoking dialogue. Audiences journey alongside Robert (Frank Willer, U0 Science) as he vicariously experiences the joys and tribulations of marriage through dinners with his married friends.
“[Company] is what it means to love and be loved,” Director Anna Brosowsky said in an interview with The Tribune.
Robert’s rose-coloured glasses are smashed as every one of his friends seems frustrated and discontent with their partners. By the end, it is up to Robert to determine if marriage is something he wants—or if he’s better off unattached and unfettered forever.
Each department collaborated seamlessly to create an immersive audience experience from entry to exit: Théâtre Plaza was a beautiful blend of a château and a modern-day speakeasy; the balcony and floor were filled with folding chairs and bar stools, and audiences were provided with an array of drinks on both levels. The audience was as entertained as they were comfortable, evident from the uproarious laughter and applause after each number.
The set was equally impressive, with minimal props serving multiple functions and a balcony for the musicians. The cast’s undeniable chemistry manifested in perfect harmonies and well-practiced physical dynamics.
Each actor displayed particular talents that deserve mention, so I will now present a round of “senior superlatives” that best reflect the theatrics displayed. Frank Willer, as the charming lead Robert, is crowned most likely to be Chandler Bing. He was witty and charming, yet realistic in his inability to commit and his general mid-life crisis. His quips were inserted tactfully into conversation, providing that sardonic saltiness that is equal parts annoying and captivating. A particularly effective touch was his facial and physical reactions to dialogues occurring between fellow actors, reflecting little glimpses of his character’s view on the subject. Frank managed to express the struggles of Robert’s suppressed affection in both his musical and dialogic deliveries.
Kaya D’aigle Edwards, playing the lovely but frantic Jenny, is deemed most likely to shatter glass with her voice. Her powerful voice reached registers that would be the envy of any opera singer, and that I had yet to see in anyone so young. Her singing was unmistakable in every ensemble number, a harmonic which elevated the pieces to something attuned to a hymn.
Miranda de Luca, U2 Education, as the saltine-level flaky Amy, is awarded most likely to be a revolutionary Frenchman, for her astonishing quick-rap solo “Getting Married Today.” In an interview, she told The Tribune that her preparation involved starting at 75 bpm and gradually increasing the tempo until she reached the true pace of the song. She noted the challenge of hitting every beat whilst tracking the chaotic shifts of Amy’s thoughts.
Our final superlative goes to Jeremy Green, U1 Arts, who served as both the Music Director and keyboardist in the band; he is presented with most likely to be an octopus (in another life). Throughout the two and a half hours of production, he kept a watchful eye on the actors in order to cue the orchestra, all whilst playing the piano. It was remarkable to see the rapport between the musicians and the actors, flawlessly in sync, particularly for a student production.
In an interview with The Tribune, Sam Snyders, Associate Director, describes the production as “alive.” I would agree. From the dedicated cast to the impassioned audience, the room was filled with life, love, and company.
Company played from Jan 25 to Feb 1 at Théâtre Plaza.
