Carried The Impact Home - Company Review by Sofie Olhoft

 Sofie Olhoft - Carried The Impact Home

From pushing stereotypes to completely reversing typical ideas around marriage and gender roles, Marianne Elliot’s adaptation of Company brings to light the oftentimes crippling pressure to get married as a woman, and how one navigates romantic relationships with that in mind. I saw Company at the Orpheum on November 14th, and it’s safe to say I haven’t stopped thinking about it since. 

Company follows Bobbie, played by Britney Coleman, who's haunted by her 35th birthday as she's still single, surrounded by her friends, all of whom are not. Told through a series of non-linear vignettes, Bobbie gets a glimpse into the imperfect lives of these couples and grapples with questions of her own. Is she ready to get married? Who should she marry? When? Should she marry at all? It’s a painfully honest portrayal of the crushing expectation on women to get married and more specifically get married young. 

The real kicker, Bobbie was originally written as Bobby, a man. This switch from Sondheim's original material redirects the entire impact of Company. Bobbie’s interactions with other characters changes significantly as a woman, with wives being jealous at the sight of “single Bobbie.” It’s clear that they, too, fell under pressure of getting married whether it was the right decision or not. While Bobbie would give anything to be married and even begs to in a heart-wrenching performance of “Marry Me A Little,” these wives watch her with envy, recounting that freedom they had before making such a permanent decision. A decision Bobbie is starting to understand the depth of.

And not only being jealous of Bobbie's freedom, but also of her attitude and appearance. Sarah, played by the hilarious Kathryn Allision, comparing her appearance and weight to Bobbie’s, it feels so real, not being able to stop comparing yourself all the time. Even the passive aggressive comments that slip out because it’s all you’re thinking. Honestly, you can’t imagine having lost such a genuine moment in the show.

Another scene in Company that demonstrates how crucial the gender swap is: “Ladies Who Lunch.” Joanne, who is wonderfully played by Judy McLane with a powerful voice and demanding presence, pours out these looming insecurities and burdens and regrets. It’s a sobering moment for a scene drunk with martinis as Bobbie realizes what she could end up as: addicted to change, drowning in drinks, never satisfied. This is a crucial part of the gender swap we wouldn’t get in the original, this shocking look into a future she could be stuck with.

Even the outfit Bobbie’s wearing puts an emphasis on her independence. Bobbie iconically adorns a red pantsuit throughout the show. It demands the audience's attention against the gray sets and gives her power over her suitors dressed in blue. There’s an appealing pop art twist on this modernized show. The timing throughout the show is clean, with doors snapping shut in unison, rooms clicking together just as a character bursts through the door. Visually, Company is a must see.

It’s hard to even imagine Company without Bobbie. Not only in Bobbie being female herself, but in her interactions with other women throughout the show. All the messages we would’ve lost, the insecurities, not needing to get married even though everyone has told you your whole life you must, it gives the show such a deep meaning. An impact I carried with me home, let sit on my dresser where I’d see it to be reminded that other women feel the same. Elliot’s adaptation of Company is revolutionary not only to me but to the women in the audience who felt seen, and to theater as we know it.Co