Company

Companies Act

Company

by Stephen Sondheim, book by George Furth

BROS Theatre Company at the. Hampton Hill Theatre, until 5^th July

Review by David Marks

“Phone rings, door chimes, in comes company…” is one of the most recognisable lyrics in musical theatre. Stephen Sondheim’s Company is one of his most accessible shows, with several of its songs recognised as classics. It is also one of his most popular. Notable cast members of many, many productions since the show’s initial Broadway run in 1970 include, amongst many other luminaries of Broadway, West End and Hollywood royalty, Elaine Stritch, Jane Russell, Adrian Lester, George Chakiris and Patti Lupone.

Everyone who has seen Company has a favourite production or performer. The show has die-hard superfans. For BROS Theatre Company at Hampton Hill Theatre this week, therefore the pressure is on. BROS is never afraid of a challenge, though and everyone rose to this one with aplomb.

First impressions are important and Wesley Henderson Roe’s set, together with lighting by Ed Pagett and Rob Arundel, and the way director Griffin Godsick has staged the piece is pitch perfect. Ostensibly the living area of a New York apartment with views of the city, it seamlessly transforms throughout the evening into external spaces and a variety of bedrooms and living rooms. Thanks to this design, from the moment the audience enters the theatre its expectations are high. And they are not disappointed.

The fourteen-strong cast work well together in what, although often billed as a star vehicle for the actor playing Bobby (in this case a charming Guillaume Borkhataria), is actually a true ensemble piece. Characterisation is clear and helped along by the clever costuming skills of Terrie Cresswell. Godsick has cast couples with genuine chemistry which adds to the believability of the show. Each of the characters has their own moment in the spotlight and none of them disappoints. Barcelona and Not Getting Married are the two comedy highlights of the evening, the first performed by Borkhataria and a gloriously madcap Hannah McKenna-Vickerstaff as April and the second by Amy Allen as Amy. Comedic though these pieces are, they also contain the layers of poignancy and tragedy so typical of Sondheim. Which brings me to the performance of the evening — Rachel Williams as Joanne is acerbic, witty, wise, brittle and vulnerable. Her rendition of The Ladies Who Lunch is magnificent.

Musically the show is strong, with an excellent nine-piece band ably led by musical Director Tom Chippendale. The cast sings the difficult Sondheim music well, and the group pieces are outstanding, but there are some uncomfortable solo moments where the music sits outside of the natural vocal range of some of the actors.

Emma Knight’s choreography is perfectly in sync with the style of the show. It is never obtrusive and always effective. Together with the smart, thoughtful direction of Godsick it makes for a well rounded performance.

Godsick has chosen to keep the action in the original 1970’s setting. This is a wise move. What Hampton Hill audiences have the pleasure of seeing this week is an extremely well executed period piece rather than a misguided update that would make the show itself appear dated. It shows Sondheim’s work as it was meant to be seen and it showcases it beautifully.

David Marks, July 2025

Photography courtesy of BROS