Company

*Due to unforeseen circumstances, this review is a little later than usual. We apologize to anyone who was hoping to read before the start of the second weekend, which is our typical timeline.

7/10

Through the eyes of Bobby, a 35 year old playboy in New York City, the Acrosstown Repertory Theatre explores the irony of urban isolation and the emotional vulnerability inherent in romantic partnerships in its production of Stephen Sondheim's Company. Originally staged in 1970, this production's aesthetic feels like the 1990s with its costumes and a backdrop design reminiscent of the famous "jazz" cups from that era. However, the themes of loneliness and the struggle to connect with others rang true in the burgeoning modern society of the 1970s, continued through the 1990s with the technological revolution, and still holds today in a society filled with the superficiality of online connections.

Since its debut, there have been several famous iterations of Company, each with its own spin on the story and characters. The minimalism of the 2006 revival with Raúl Esparza highlights Bobby's loneliness through physical distance and the use of lighting, while the 2011 version with Neil Patrick Harris utilizes a flashier presentation to make the same points. The Acrosstown's telling of Bobby's story feels like a blend of sorts. ART's space lends itself to the minimalism of the former, but the production team emphasizes the isolation of Bobby through flashy choices juxtaposed against the emptiness of the black box space. Most notably, the costume design leaves Bobby in grey while every couple is given a vibrant color, with each partner matching, almost as though they are part of a team while Bobby remains alone. All around him are dancing pairs of color, while in the center sits a grey void with no match. The costume choices are wonderful and perfectly suit the actors and the story.

Without Bobby, the story has no meaning, just vignette after vignette of seemingly broken couples. Bobby is the key to the narrative, finally culminating in the beauty of "Being Alive"as Bobby realizes that for every negative to romantic vulnerability, there is a positive that brings meaning to life. Bradley Searles, playing Bobby, embodies the shallow playboy early in the show, leaning on charm to keep those around him at bay. Mr. Searles exudes charisma as Bobby deflects every interaction that would force him to face his inner-self and show weakness. Vocally, he proves himself more than capable of capturing the moment as the lead in such a difficult show.

Lola Bond is captivating as Joanne, the jaded friend with a drink in hand, whose multiple failures at love have left her seemingly bitter towards the idea despite her current marriage. Ms. Bond commands the stage with a femme fatale presence that pairs perfectly with her blunt and acerbic interactions with the other characters. While there are many great songs in Company, this version of "The Ladies Who Lunch" is a highlight in both the vocal performance and the physicality of Ms. Bond.

The heaviness of Company requires the occasional respite, to pull the audience back from the brink and give them something to actually laugh at in the midst of 2 hours and 45 minutes of existential crisis. Thankfully, Natacha Petruzzelli brings humor and heart to the ditzy April, making her the perfect mirror to expose Bobby's shallowness and isolation.

Company is an ambitious undertaking in a smaller community theater scene and not everything about this production works to its intended effect, but overall the performances and the design of the show make for an enjoyable night of theater. Company runs at the Acrosstown Repertory Theatre through July 12th and tickets can be found at acrosstown.org.